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ARTICLES IN THE BOOK

  1. Acoustics
  2. AKG Acoustics
  3. Audio feedback
  4. Audio level compression
  5. Audio quality measurement
  6. Audio-Technica
  7. Balanced audio connector
  8. Beyerdynamic
  9. Blumlein Pair
  10. Capacitor
  11. Carbon microphone
  12. Clipping
  13. Contact microphone
  14. Crosstalk measurement
  15. DB
  16. Decibel
  17. Directional microphone
  18. Dynamic range
  19. Earthworks
  20. Electret microphone
  21. Electrical impedance
  22. Electro-Voice
  23. Equal-loudness contour
  24. Frequency response
  25. Georg Neumann
  26. Harmonic distortion
  27. Headroom
  28. ITU-R 468 noise weighting
  29. Jecklin Disk
  30. Laser microphone
  31. Lavalier microphone
  32. Loudspeaker
  33. M-Audio
  34. Microphone
  35. Microphone array
  36. Microphone practice
  37. Microphone stand
  38. Microphonics
  39. Nevaton
  40. Noise
  41. Noise health effects
  42. Nominal impedance
  43. NOS stereo technique
  44. ORTF stereo technique
  45. Parabolic microphone
  46. Peak signal-to-noise ratio
  47. Phantom power
  48. Pop filter
  49. Positive feedback
  50. Rode
  51. Ribbon microphone
  52. Schoeps
  53. Sennheiser
  54. Shock mount
  55. Shure
  56. Shure SM58
  57. Signal-to-noise ratio
  58. Soundfield microphone
  59. Sound level meter
  60. Sound pressure
  61. Sound pressure level
  62. Total harmonic distortion
  63. U 47
  64. Wireless microphone
  65. XLR connector

 

 



MICROPHONES
This article is from:
http://en.wikipedia.org/wiki/ORTF_stereo_technique

All text is available under the terms of the GNU Free Documentation License: http://en.wikipedia.org/wiki/Wikipedia:Text_of_the_GNU_Free_Documentation_License 

ORTF stereo technique

From Wikipedia, the free encyclopedia

 

The ORTF stereo microphone system is a microphone technique used to record stereo sound. It was devised around 1960 at the Office de Radiodiffusion TÚlÚvision Franšaise (ORTF) at Radio France.

ORTF combines both the volume difference provided as sound arrives on- and off-axis at two cardioid microphones spread to a 110║ angle, as well as the timing difference provided as sound arrives at two the microphones spaced 17 cm apart.

The microphones should be as similar as possible, preferably a frequency-matched pair of an identical type and model.

The result is a realistic stereo field that has reasonable compatibility with mono playback. Since the cardioid polar pattern rejects off-axis sound, less of the ambient room characteristics are picked up. This means that the mics can be set back further from the sound sources, resulting in a blend that may be more appealing. Further, ORTF is easy to achieve, as purpose-built microphone mounts are available.

As with all microphone arrangements the distance and angle can be manually adjusted slightly by ear for the best sound, which may vary depending on room acoustics, source characteristics, and so on. But this arrangement is defined as it is because it was the result of considerable research and experimentation, and its results are predictable and repeatable.

These interchannel signals have nothing to do with interaural signals, which come only from artificial head recordings. Even The spacing of 17 cm has nothing to do with interaural ear spacing. The recording angle for this microphone system is ▒ 48░ = 96░.

See also

  • Microphone
  • Jecklin Disk
  • NOS stereo technique
  • Stereophony

External links

  • WikiRecording's Guide to ORTF Stereo Technique Setup
Retrieved from "http://en.wikipedia.org/wiki/ORTF_stereo_technique"