OBORO's surround sound
control room |
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The workshop at OBORO's surround sound
control room. Dynaudio Air 20
monitors are positioned in typical 5.1 fashion with
left/right at 30° and Ls/Rs at 110°.
On screen is a
picture of the 1976 prototype SoundField microphone
revealed by Michael Gerzon himself. The picture is
from the Michael Gerzon Photos website. |
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OBORO's control room
screen showing Apple Grapher |
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OBORO's control room
screen showing Plogue Bidule |
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Left: in OBORO's surround sound
control room, on screen is Apple Grapher. It's used in
the workshop to demonstrate the design of virtual
microphones.
Right: the front screen again, but with the
modular data flow environment for audio of Plogue Bidule.
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In OBORO's Studio 1,
checking the recording the gear. |
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In OBORO's Studio 1, checking the
recording the gear. The Line Audio QM12i is
installed on top the mic stand and about 10 cm in
front of it. The four mic-level cables from the
QM12i are connected to two Metric Halo ULN-2
audio interfaces. The ST350 is under the QM12i and
about 15 cm in front of the mic stand. The four
line-level cables out of the ST350 control unit are
connected to a RME Fireface 400
audio interface.
The Metric Halo and RME audio
interfaces are connected to an Apple MacBook Pro 2.4
GHz running macOS 10.5.5 and Steinberg Nuendo 4.2.2
DAW. The audio interfaces share the same wordclock
and are grouped with the Mac macOS Aggregate Audio Device
feature to present only one audio interface to the
recording software. The recording is done at
24 bit and 48 kHz. |
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The Double MS assembly |
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As an add-on to the main recording
setup, a Double MS assembly will also
be installed. This Double MS assembly is comprised
of a Schoeps CMIT5 U, a Schoeps MK 8 and a Schoeps CCM 41.
The
Double MS will be recorded on a Aaton Cantar-X. |
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The Line Audio QM12i
with its grille removed. |
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The Line Audio QM12i with its grille
removed: each capsule triplet make a cardioid
element.
Line Audio QM12i microphone
courtesy of Etienne Bovo.
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Setup in the Grand
séminaire de Montréal chapel |
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Setup in the Grand
séminaire de Montréal chapel |
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The ST350 control unit
taped to the stand. |
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Setup in the Grand séminaire de Montréal
chapel.
The 3-meter cable that comes
stock with the ST350 meant that we had to tape
its control unit to the stand.
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The two raised
microphone stands. |
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The two raised
microphone stands. |
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The two microphone stands once raised. |
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The main stand with the
three surround microphones. |
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The secondary stand with
the Double MS assembly. |
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Left: the main stand with the three
surround microphones.
Right: second stand with Double MS assembly.
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Recording and monitoring
the QM12i and the ST350. |
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Recording and monitoring
the Double MS assembly. |
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Left: recording and monitoring the
QM12i and the ST350.
Right: recording and monitoring the Double MS
assembly.
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The MacBook Pro with
Nuendo recording the QM12i and the ST350. |
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The Cantar-X recording
the Double MS assembly. |
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Left: the MacBook Pro with Nuendo
4.2.2 recording the QM12i and the ST350.
Right: the Cantar-X recording the Double MS
assembly.
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The wiring behind the
audio interfaces. |
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The wiring behind the audio
interfaces:
- 4 mic-levels from the QM12i into the two
ULN-2
- 4 line-levels from the ST350 control unit
into the Fireface 400
- Wordclock going from the bottom ULN-2 to the
second ULN-2 to the Fireface 400
- FireWire going from one unit to the other
into the MacBook Pro
- SPDIF out of the bottom ULN-2 to a Benchmark DAC1 (not shown)
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Warm thanks to Yves-G. Préfontaine for letting us
record his recital.
Photos by the workshop participants.
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