Blumlein Pair - Factbites

Blumlein Pair - Factbites
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Topic: Blumlein Pair

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	The Blumlein Conspiracy
		It was well known during the fifty years before Blumlein, that two microphones, spaced the width of the human head, feeding a remote pair of headphones, produced very realistic sound images with solid, stable, directional attributes.
		Blumlein knew that his reproduction method using two widely spaced loudspeakers was flawed, but the improvement in sound reproduction over mono was so apparent that there was no need to point out in detail its theoretical imperfections, and in any case he wanted his patent to be awarded and his invention used.
		Blumlein was awarded his patent covering what we now call stereophonic sound reproduction officially on June 14th, 1933.
	www.ambiophonics.org /blumlein_conspiracy.htm

	Ribbon microphones for a digital age
		Advantages of the Blumlein bidirectional pair are crisp and accurate imaging with an almost holographic soundstage, and a natural blend of ambient sound from the rear.
		While the Blumlein technique can deliver impressive results, setting it up to work correctly with two mono microphones is time consuming because precise alignment of the two capsules is critical for proper performance.
		The history of stereo recording and reproduction can be traced to Alan Dower Blumlein, a British radar engineer who died at the age of 39 yet held almost 130 patents for numerous inventions - including the techniques that led to the development of stereo as we know it today.
	www.royerlabs.com /articles/Audio_Tech_issue13.html

	Re: Blumlein
		I used a Blumlein pair to record a vocal ensemble who just sang in a circle around the mikes.
		Blumlein is named after the inventor of stereo, Alan Blumlein.
		It is a great technique for any kind of "pop" choral music or for background vocals.
	neumann.com /pinboard/archives/archives.cgi?message_id=9667

	An Introduction to Recording Studio Design at AhISee - the site for Insight
		Blumlein is little known or acknowledged for his many important innovations.
		With classical material, the story is different, as true Blumlein techniques are often combined with multiple miking of instrument sections or soloists in order to control and balance each section.
		This is tricky to implement effectively as the separate feeds for the soloists or sections are arriving with a different time delay to that from the stereo pair of mikes...
	www.ahisee.com /content/rsdpart1.html

	SoundField: The Company
		(The latter, in fact, is commonly referred to as a “Blumlein Stereo&; pair.) In the 1970s, British mathematicians Michael Gerzon, Peter Craven and colleagues expanded upon the stereo concepts pioneered by Blumlein to develop the concept of a microphone system that could reproduce a full three-dimensional soundfield.
		In 1933, British scientist Alan Blumlein was issued a patent that stands today as a landmark in the development of stereophonic recording and reproduction.
		Both Blumlein and Gerzon realised that only when a soundwave is captured at a single point in space can it be reproduced faithfully and without the phase distortion anomalies inherent in spaced microphone techniques.
	www.soundfield.com /company/company.php

	University of York: Music Technology Group; Basic Ambisonics
		The technique developed by Alan Blumlein consisted of a pair of microphones with figure of eight characteristics, mounted as close together as possible and with the front lobe of one mic pointing 45 degrees to the left of the front-back line and the front lobe of the other pointing 45 degrees to the right.
		In the late 1920's and early 1930's a more formal basis for directional reproduction was laid down by Alan Blumlein in Britain and the RCA company in the States.
		By replacing the figure of eight microphones with ones with cardioid characteristics and changing the angle between them so that it just includes the desired soundstage, it is possible to use the cardioid mic's lack of response to rearward sounds to reduce the mapping of rear reveberant sounds onto the front reproduced soundstage.
	www.york.ac.uk /inst/mustech/3d_audio/ambsnlct.htm

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