György Mohai

AMBEO Expert Stories 3 time GRAMMY® Nominee Daniel Shores started his professional career with Sono Luminus, first as an assistant engineer, then engineer, then head of the Sono Luminus record label.

I first met the 3D AMBEO recording technology in September 2016, during a Sound Expert Seminar organised by Sennheiser in Berlin. Besides the concept, we were lucky to get acquainted with the associated MKH800Twin microphone and the corresponding PlugIn. At once, plenty of new ideas occurred to me about the technology and its multiple ways of applying it in my own work.

Recently, I used these microphones to record the music soundtrack of Jupiter's Moon, a new film by Kornél Mundruczó which will have its premiere in Cannes this year, as a participant of the main competition for the Palme d’Or. (Music composed by Jed Kurzel, known for Alien: Covenant, Macbeth, Assassin’s Creed) I can say I had very good results with this system.

György Mohai

„The Sennheiser MKH800Twin microphones provide brilliant acoustic space mapping and it feels good that on the recordings the band forms a single unit with the acoustic space in the mix.“

The new Sennheiser layout makes it very easy to create traditional 5.1 or Dolby Atmos compatible mixes or Stereo mixes from the recording – depending on the platform on which the soundtrack will be presented (cinema, DVD, television). It is a great relief that we do not have to decide the pickup pattern of the microphones while recording, but we are able to choose the most suitable later, during post-production, even as late as the mixing process. This way we can apply different pick-up patterns in mixes intended for different uses.

The Sennheiser MKH800Twin microphones have an extremely transparent and detailed audio reproduction, I find it fascinating to record virtually any instrument or band using them. These microphones provide Sennheiser’s usual outstanding signal-to-noise ratio.

During our first sessions with the Sennheiser MKH800Twin microphones, we used the AMBEO Square layout. However, I very soon became curious to find out what more could be achieved with our already very promising results using other than the recommended layout. Besides applying the recommended mic positioning protocol, I tested the microphones in spot positions and in a Decca Tree. Using different layouts, I have been testing to record string quartets and solo instruments as well as classical singers. My overall experience is that the system provides an excitingly versatile performance in every layout, even more so provided the ability to change the pickup pattern of the microphones later, making the raw material ready to match any later arising technical or artistic requirements.

About György Mohai

About György Mohai

György Mohai is a Sound Engineer, Mixing Engineer and Sound Designer based in Budapest, Hungary. He is a key member of the young Hungarian sound engineer generation. He was engaged in music studies from his early childhood and attended the Jazz Vocals Faculty of the Kőbánya Conservatory, secondary-educational home for many famous Hungarian musicians. In 2010, he acquired a Sound Director BA degree at the University of Theatre and Film Arts, where he has often returned since then to hold lectures.

He started his career as a freelance sound technician (monitor and FOH) with dedicated bands and orchestras, also hired by the biggest live/PA companies in Hungary. In 2004, he founded his own PA company. Since 2012 he is Head of Sound Department at Pesti Magyar Theatre.

Currently, he is one of the busiest Hungarian live sound engineers, regularly working as Chief Sound Engineer at some of the biggest Hungarian events, covering almost the whole spectrum of live musical genres (Bobby McFerrin, José Cura, Ramón Vargas, Andrea Rost and Erika Miklósa) and theater projects (Shrek, West Side Story, Into the Woods, Blues Brothers and István a Király). 

György also participated in several motion picture productions. Just to mention one: as Communication System Engineer, he played an important role in the sound department of The Martian, which – besides other sound-specific wins and nominations – was nominated for an Academy Award in all sound categories in 2015.

Recently – besides the PA company – he has founded his own sound studio under the name Pannónia Hangstúdió. This facility helps to bridge the wide range of his professional interests, as it hosts musical as well as theatre and motion picture productions on a daily basis.