Stereo mikrofonske tehnike snimanja glazbenih izvedbi uživo

master's thesis

• Title (english): Stereo microphone techniques for recording live sound events
• Author: Natan Šujansky
• Mentor: Kristian Jambrošić (mentor)
• Committee member: Kristian Jambrošić (predsjednik povjerenstva)
• Committee member: Bojan Ivančević (član povjerenstva)
• Committee member: Siniša Fajt (član povjerenstva)
• Granter: University of Zagreb; Faculty of Electrical Engineering and Computing; Zagreb
• Defense date and country: 2014-07-04, Croatia
• Scientific / art field, discipline and subdiscipline: TECHNICAL SCIENCES; Electrical Engineering

Abstract

Stereofonija u glazbi podrazumijeva postizanje dojma prostornosti pri slušanju snimljene glazbe i ostvarivanje mogućnosti lokalizacije zvučnog izvora u prostoru. Da bi se to postiglo osmišljene su različite stereo mikrofonske tehnike snimanja. Reprodukcijom takvih snimki pomoću dvokanalne stereo zvučničke konfiguracije (dva zvučnika i slušatelj čine jednakostraničan trokut) kod slušatelja se, zbog karakteristika ljudskog slušnog sustava, stvara doživljaj virtualne slike zvučnog izvora. Tehnike stereo snimanja dijele se s obzirom na položaj mikrofona u četiri osnovne skupine: podudarni par, razmaknuti par, gotovo podudarni par te par s pregradom. U sklopu ovog rada uspoređene su četiri najčešće stereo tehnike i ispitana njihova svojstva. To je postignuto snimanjem žive izvedbe akustičnog sastava, obradom tih snimki te slušnim ispitivanjem, i konačno, analizom dobivenih rezultata. Analiza je pokazala da ne postoji najbolja tehnika, već svaka ima svoje prednosti i mane.

Abstract (english)

Stereophony in music implies achieving spatial impression of recorded music and the ability to locate sound sources in space. In order to accomplish this, several different stereo microphone techniques are used. By using two-channel stereo loudspeaker configuration (two speakers and the listener are forming an equilateral triangle) to reproduce these recordings, it is possible for the listener to experience phantom sound images, because of the human auditory system characteristics. There are four basic stereo recording techniques which differ in microphone positioning: coincident pair, spaced pair, near-coincident pair and baffled omni-pair. In this MSc thesis the comparison of the four most common stereo recording techniques and their features is made. This was accomplished by recording a live acoustic band, producing those recordings, tests with human listeners, and test result analysis. It has been shown that that there is no best technique because using each one has its own benefits and disadvantages.

• Keywords: stereo; snimanje; stereofonija; snimanje glazbe; mikrofoni; stereo tehnike; A/B; M/S; ORTF; X/Y; prostornost; prostorna akustika; slušna akustika; stereo reprodukcija; obrada glazbe; slušno ispitivanje; zvuk; parametri zvuka; kardioidni mikrofon; omnidirekcijski mikrofon; bidirekcijski mikrofon
• Keywords (english): stereo; recording; stereophony; recording music; microphones; stereo techniques; A/B; M/S; ORTF; X/Y; spatiousness; spatial acoustics; auditory acoustics; stereo reproduction; music production; auditory test; sound; sound parameters; cardioid microphone; omnidirectional microphone; bidirectional microphone
• Language: croatian
• URN:NBN: urn:nbn:hr:168:025976
• Study programme: Title: Electrical Engineering and Information Technology; Study programme type: university; Study level: graduate; Academic / professional title: magistar/magistra inženjer/inženjerka elektrotehnike i informacijske tehnologije (magistar/magistra inženjer/inženjerka elektrotehnike i informacijske tehnologije)
• Type of resource: Text
• File origin: Born digital
• Access conditions: Closed access
• Created on: 2018-02-06 12:25:27