Crown SASS-P MK II Handbuch

Andere Handbücher für SASS-P MK II

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Dieses Handbuch passt für folgende Modelle

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Inhaltsverzeichnis

Andere Crown Mikrofon Handbücher

Crown

Crown CM-700 Bedienungsanleitung

Crown

Crown CM-31 Bedienungsanleitung

Crown

Crown PZM-6D Bedienungsanleitung

Crown

Crown DIFFEROID CM-311A Installationsanleitung

Crown

Crown CM-30 Bedienungsanleitung

Crown

Crown GLM-100 Bedienungsanleitung

Crown

Crown CM-31 Bedienungsanleitung

Crown

Crown PZM-11 Bedienungsanleitung

Crown

Crown SASS-P MK II Bedienungsanleitung

Crown

Crown LM-201 Bedienungsanleitung

Crown

Crown PZM-30R Bedienungsanleitung

Crown

Crown PCC-130 Bedienungsanleitung

Crown

Crown CM-30 Bedienungsanleitung

Crown

Crown PZM-30F Bedienungsanleitung

Crown

Crown PZM-11LLWR Bedienungsanleitung

Crown

Crown PZM-30D Bedienungsanleitung

Crown

Crown CM-312A Bedienungsanleitung

Crown

Crown PCC-170SWO Bedienungsanleitung

Crown

Crown CM-700 Bedienungsanleitung

Crown

Crown CM-200A Benutzerhandbuch

Crown

Crown MINI-BOUNDARY MB-1 Bedienungsanleitung

Crown

Crown GLM-100 Benutzerhandbuch

Crown

Crown PCC-130 Bedienungsanleitung

Crown

Crown CM-30 Benutzerhandbuch

Beliebte Mikrofon Handbücher anderer Marken

IK Multimedia

IK Multimedia iRig Stream MIC PRO Bedienungsanleitung

DAPAudio

DAPAudio RM-101 Bedienungsanleitung

AKG

AKG CHM 21 Bedienungsanleitung

Sennheiser

Sennheiser evolution wireless series EM 100 Bedienungsanleitung

Sony

Sony C-48 Bedienungsanleitung

GIGAMEDIA

GIGAMEDIA GGM PAMICUHFG Bedienungsanleitung

Shure

Shure WH30TQG Bedienungsanleitung

auna PRO

auna PRO MIC-900 Bedienungsanleitung

AKG

AKG D 3800 Bedienungsanleitung

Shure

Shure KSM141 Bedienungsanleitung

MAIIN SOUND

MAIIN SOUND IIN style Bedienungsanleitung

Earthworks

Earthworks TC25 Bedienungsanleitung

Alesis

Alesis MicLink Wireless Bedienungsanleitung

DSPPA

DSPPA D6234 Bedienungsanleitung

Monacor

Monacor IMG STAGELINE ECM-300B Bedienungsanleitung

Ansr Audio

Ansr Audio Scan16 Bedienungsanleitung

Shure

Shure MXA710 Series Bedienungsanleitung

Sennheiser

Sennheiser evolution D1 Bedienungsanleitung

THREE SASS®SURROUND METHODS

The Crown SASS-P MKII stereo microphone (Stereo Ambient Sampling System) does a great job

providing ambience and audience sounds for the rear channels in surround recordings. Let’s look

at three surround miking techniques that use the SASS.

Five-Channel Microphone Array with Binaural Head

This method was developed by John Klepko of McGill University. It combines an array of three

directional mics with a 2-channel dummy head (Figure 1). Although Klepko did not mention the

SASS, it probably could replace the dummy head because of their similarity.

• Front left and right channels: identical supercardioid mics

• Center channel: a cardioid mic

• Surround channels: a dummy head with two pressure-type omni mics fitted into the ear

molds, or a SASS mic.

Figure 1. The Klepko surround-sound miking method.

The mics have equal sensitivity and equal gains. Supercardioids are used for the front left/right

pair to reduce center-channel buildup.

According to Klepko:

“The walkaround tests form an image of a complete circle of points surrounding the listening

position. Of particular interest is the imaging between ±30 degrees and ±90 degrees. The array

produces continuous, clear images here where other (surround) techniques fail.”

Stereo Pair Plus Surround SASS

In this method, the center-channel mic is omitted. You use a standard stereo pair of your choice

to pick up the musical ensemble, plus another stereo pair of your choice (such as the SASS) to

pick up the hall ambience (Figure 2). The hall mics feed the left-surround and right-surround

channels.

Figure 2. Stereo pair plus surround SASS

Mike Sokol Method

When recording concerts, surround-sound guru Mike Sokol often uses a Crown SASS-P MKII

stereo mic aiming toward the audience, feeding the surround channels. The front soundstage is

a multitrack mix of several close-up mics (Figure 3). Because the SASS can handle up to 148 dB

maximum SPL, screaming audiences are no problem.

Figure 3. A surround method by Mike Sokol