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ας παρει βρε συ, κερδος θα τοχει.....να δει καμια ταινιουλα 5.1. η 7.1 η μουσικουλα και τα ξαναλεμε....
....και αλλοι ανεβοκατεβαζαν πεθαμενους το auro και μονο αυτο ακουνε τωρα...
As part of our 10th Anniversary celebrations, on October 28th we will support the live-streaming of the piano and drum duo concert by Mayo Nakano and Takanobu Baba at Hakuju Hall in Tomigaya to AURO HQ Belgium. Organised together with the well known Japanese broadcaster WOWOW this will be the world's first live image distribution of 3D audio using the AURO-3D immersive audio coding technology Auro-Codec
Despite the second hard lockdown in Austria starting before the Christmas holidays 2020 and lasting until at least January 18, 2021, the traditional New Year’s Concert of the Vienna Philharmonic in the famous “Goldene Saal” of the Musikverein took place as planned, conducted for the 6th time by Italian Maestro Riccardo Muti (see Fig.1). Well, not exactly as planned, of course, as there was no audience allowed. We spoke to Florian Camerer, head of audio post production at ORF TV, about the special situation as well as his ongoing experience with providing an AURO-3D soundtrack for the Bluray release.
Figure1: Riccardo Muti conducting the Vienna Philharmonic at the New Year’s Concert 2021
Q: Tell us a bit more about the microphone arrangement and the philosophy behind it.
A: It’s probably best to show pictures with all the mic positions (Fig 2+3):
Figure 2: New Year’s Concert 2021 Microphone positions base layer
Figure 3: New Year’s Concert 2021 Microphone positions height layer
We use the Decca Tree as the main mic since the beginning of time and of course, many spot mics, as we have to be able to get more texture when the video guys do these extreme close-ups (which they love!). It is important that the mix is good in 5.0 surround sound and of course in 2.0 stereo. The live mixer (my colleague Martin Gamperl from the OB van sound department) mainly listens to the stereo signal as this is what the majority of consumers hear. The height microphone positions have evolved over the years. In the beginning, I had the front height mics positioned directly over the woodwinds, also because at the first concert I did in AURO-3D there was the Vienna Boys’ Choir singing on the organ balcony which led to this closer placement. When there is no choir (the usual case) the front height mics are now positioned above the Decca Tree. The distance is not great, as vertical decorrelation is by far not so effective as horizontal one (as has been investigated thoroughly be Hyunkook Lee at the university of Huddersfield in the UK). And then there is the practical aspect – we use steel wires to hang most of the mics, and it is not easy at all to have mics hanging down from the ceiling… The back height microphones are roughly halfway between the four mics of the Hamasaki-square. All height microphones are cardioids facing upwards. The height signals really must be additional signals that are not necessary to have a good planar surround mix. Downward compatibility is a big issue.
κοντα στο 1 δευτερολεπτο η διαφορα αντηχησης χωρις κοσμο και με κοσμο .
As the empty hall has a considerably longer reverb time (about 2,5 sec compared to 1,7 sec with a full hall
εεεε......
Q: You always speak of 9.0 and 5.0, don’t you use the LFE channel?
A: Fortunately, there never has been a volcano eruption during the New Year’s Concert, so there is no need whatsoever to use the additional headroom of the LFE…