DPA presented a paper and host a special workshop at the AES 24thInternational Conference in Banff, Canada. The results of this workshopare currently on view at www.dpamicrophones.com, within the company’s“Microphone University” area.
Although many different miking setups were explored during theworkshop—which was conducted by DPA engineers Mikkel Nymand, EddyBøgh Brixen, and company principal Morten Stove—the overallconclusion according to Stove was, “There is no one way of mikingfor surround, which is great because it shows that you can do the samerecording in many different ways and achieve many differentexperiences. It’s an open book with many variations based onpersonal taste, the application and the room, of course.”
The individual sessions included “Introduction to MicrophoneTechniques for 5.1 Surround Sound” by Mikkel Nymand, an overviewof the latest thinking in multichannel setups. “A SurroundMicrophone Setup for Classical Music” by Lars S. Christensen ofthe Danish Broadcasting Corporation explored new setups forbroadcasting larger musical setups in surround.
Other new surround techniques are explored in “Recording DNRSOin Surround 5.0” by Jan Oldrup of the Danish BroadcastCorporation; “Description of a 5-Channel MicrophoneTechnique” by Jason Corey, University of Michigan and GeoffMartin, Bang & Olufsen; “A Five-Microphone Technique forMusic Recording in a Large Venue” by Richard King, Sony MusicStudios; “Practical Surround Microphone Techniques” by MikeSokol and Hector La Torre; “Swan Lake in 5.1” by HansEvers, sound supervisor, SVT, Sweden; and “Capturing ContinuousPhantom Image in a Four-Channel Microphone Array” by Gary F.Baldassari, Incorporated Magi, Holmes Beach, Fla.