„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.“
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.
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.
