R/E/P Community

Please login or register.

Login with username, password and session length
Advanced search  

Pages: [1]   Go Down

Author Topic: The glorious Blumlein  (Read 3371 times)


  • Moderator
  • Hero Member
  • *****
  • Offline Offline
  • Posts: 2108
The glorious Blumlein
« on: April 17, 2011, 09:38:22 PM »

Orginally Posted By: Otek on Fri, 11 June 2004

I have used the Blumlein configuration quite extensively for ambience miking, and I have usually been very pleased with the sound. It seems to give a very exact, three-dimensional representation of most ensembles, provided the room is good, and provided I keep plenty of distance to the walls in all directions (I am not sure if this is actually necessary, it's just the way it's sounded to me every time).
Now, I mostly go entirely by subjective opinion. I listen, and if I like it, I use it. Which has been the case with this technique.
But I would definitely be interested in hearing what the theoretical background to the Blumlein configuration is. I don't know how to explain this in correct technical terms, so bear with me here, but I have imagined that its precise nature and ability to pinpoint instruments in the stereo field comes from the fact that the pickup pattern of each figure-eight shares very little "common ground" with the other, and therefore the stereo image becomes clearer.
Am I full of crap here? Can someone explain it to me in a better way?

Behr*nger - Just say "nein"
- dwoz
Klaus Heyne
German Masterworks®
Pages: [1]   Go Up

Site Hosted By Ashdown Technologies, Inc.

Page created in 0.028 seconds with 21 queries.