English – SCHOEPS M 100 C Benutzerhandbuch

Seite 8

Advertising

SCHOEPS GmbH · Spitalstr. 20 · D-76227 Karlsruhe (Durlach) · Tel: +49 721 943 20-0 · Fax: +49 721 943 2050

English

Move one of the microphone clips into highest
position and the other into lowest position.
To do this, loosen the little knurled screws
underneath the clips by about three turns
(Fig. 5). Then slide the clip holders towards or
away from the bar as far as they will go, and
fasten them in this position using the little
knurled screws. Now insert the microphones
into the clips.

You can change the position of the clip

holders and their angle to the bar by loosening
the large knurled nuts on the base of the bar.

You will need to grip the clip holders tightly

to fully tighten the knurled nuts.

The distance between the microphones must

be 0 cm; the axis angle

ω between the micro-

phones depends on the des ired record ing
angle. Once you know the axis angle, the
recording angle can be read off the chart in
F ig. 9b.

For example for

ω = 90°, the microphones

are correctly arranged one above the other,
if they look like the following illus tration when
viewed from above:

Variations with Cardioids
– Personal Settings

The M 100 C can be used for a great deal more
than just ORTF and XY. You can achieve just as
good recordings by setting other angles and dis-

tances between the microphones. Here is a brief
guide:

In the case of stereo recordings, one of the essen-
tial aims is to reproduce the recording area

(see F ig. 9a) during playback through loud-
speakers in an area spanning 60° (see F ig. 6b).
The decisive parameters for achieving this are:
1. the directivity of the microphones used,
2. their distance from the sound source,
3. the angle

ω between the microphone axes,

and

4. the distance d between the sound inlets of

the microphones.

How to Determine the Parameters

1. Since the microphones will always be rela-
tively close to each other, the first parameter
is already known: one should use cardioids,
for example.
2. The distance a is particularly important: it
influences not only the reproduction, but also
the sound, since it defines the ratio of direct
to reflected sound (diffuse sound). At a small
distance, the recording will sound “dry” while,
at a large distance, more “room” will be
recorded. The latter could be desirable if the
room has nice acoustics. What this all implies
is that it is best to choose the distance prima-
rily for aesthetic purposes, where the acoustic
properties of the room are as important as
anything else.
3. and 4. In order to determine the angle

and the dis tance d between the microphones ,
you firs t have to determine the recording
angle

α. You can do this with the help of

Table 1 on page 5. T he recording angle

α is

calculated from the ratio of the s ound s ource
width b to the dis tance a from the s ound
s ource (F ig. 9a). F or this , a and b have to
be either es timated, paced out or meas ured.
You then look for the curve in Figure 9b that
comes closest to the recording angle calculated
in the manner just described. All possible set-
tings for d and

ω that will give you the best

reproduction of the recording range in the
playback range will lie along that curve.

XY/ Variations with Cardioids

Fig. 8
Correct positioning of the microphones for XY
arrangement, at an angle

ω of 90° between

the microphones (viewed from above), where
the res ulting recording angle

α is 180° in the

cas e of cardioids .

Advertising