![]() The human brain uses these tiny differences between the two ear/microphone signals (and other, e.g. The technique “exploits” basic principles of human spatial hearing: very small frequency adjustments that occur when sound wraps around the human head and is transformed by the outer and inner ear. The technology uses two microphones that are usually situated in the ears of a mannequin: this is why the technique is often called “dummy head recording”. The recordings were subject to a small scale listening test, which concluded that for this ensemble and recording environment, the Blumlein array produced the most pleasing recording with a wide stereo spread stretching from ear to ear and providing accurate imagery for each of the 4 performers.So what is Kunstkopf stereophony? Put simply, it is a 3D audio recording technology that enables listeners to relocate all recorded sound sources in space as if they were in the original recording situation. Five stereo arrays were selected to create the final small ensemble recordings, each producing satisfactory, yet varied results confirming the research suggestion that no one microphone technique will be suitable for every situation. These tests also highlighted the shadowing, image distortion and difficulty in positioning the various techniques that occurs when too many microphones are setup simultaneously. It was confirmed that, by varying the spacing and angles between microphones, the width and spacing of the stereo image could be adjusted to suit the recording. Test recordings were conducted to confirm the spatial cues produced by the various arrays matched the predictions made by formulae, using trigonometry to calculate the difference in path length. A range of coincident, near coincident and spaced pair techniques were researched to compare how they captured and encoded the time and level differences caused by different sound source locations. ![]() The report includes research from a number of sources examining how the human hearing system is able to identify the location of a sound source through time and level differences between the two ears and the unique interaction of the waves with the listener’s head and torso. There are a number of methods for creating a stereo recording, this report investigates and compares how a number of different stereo microphone techniques can be used to create a complete stereo field. Based on contemporary publications, sources from broadcasting archives, and oral history interviews, this paper argues that the recordists' outright rejection of binaural stereo was rather grounded in their listening and recording ideologies than in actual shortcomings of artificial head technology. They referred to certain technical shortcomings of binaural stereo in general, and available microphone models in particular. Despite this remarkable echo German broadcasting stations were somewhat reluctant to adopt binaural stereo, and many sound engineers rejected to deploy artificial head microphones. Radio listeners and journalists praised it for its 'super stereo' quality and highest fidelity, and expected that the future of radio would be three-dimensional. During the fair, Berlin-based radio station RIAS broadcast the first binaural radio play. Based on the development of artificial head microphones binaural stereo provided facsimile sound recordings that enabled listeners, when listening with headphones, to experience the spatial acoustics of the original recording situation. ![]() In 1973, binaural stereo was introduced to the German public during the International Broadcasting Fair in Berlin. ![]()
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