Using the H2-PRO
The Holophone H2-PRO is remarkably
simple to use, because it accurately reproduces in three
dimensions what one would hear at a particular location
in space. In most cases, if you have experience recording
sound with traditional microphones, you can rely on your
ear and your intuition as to exact placement for a particular
event or venue.
Here are a few additional
suggestions: (please note these are only suggestions)
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The simplest
method is highly effective. Give the Holophone the best
seat in the house and let it do its work. You will be
amazed at the accuracy of the ambient sound. For a concert
situation with arena-style seating, you might place the
Holophone H2-PRO a little higher than the orchestra, tilting
the nose down towards the performers.
-
Use the
Holophone H2-PRO to provide the "base" ambient
surround sound for your mix. Make sure to give the Holophone
tracks "space" in the mix in which to further
construct your mix, bearing in mind that the Holophone
will provide a sonically complete Surround Sound picture
to begin with. The usual approach is to place the Holophone
along the center line of the event to get a sonic capture
with proper left/right balance. Aim the pointed front
of the Holophone towards the front and the round back
towards the rear of the venue. Additional spot microphones
can be used to feature specific areas or instruments in
the recording, and to complete the desired soundscape.
Remember: The Holophone's microphone configuration
directly relates to a listener's perspective in
a home theater, etc. Treat the Holophone like a sonic
camera, keeping the center "nose" microphone
element forward, the left pointing left and the right
pointing to the right of the performance.
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If you are
used to working with other microphones in a particular
way, you can use the Holophone H2-PRO to provide the ambient
sound of a venue and build the rest of the mix around
it. Place it in a position that will not cause phase or
delay problems when used with the signals captured by
the other microphones. In most cases, in large venues
try to position the Holophone as close to "Front
Row Center" as possible, rather than near the back
of the room (as with some traditional ambient microphone
techniques).
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When mixing
Holophone tracks with other audio tracks for broadcast,
including for voice-over or sportscaster talent, try to
mix the dialogue not only into the Center channel, but
also place the dialogue slightly in the Left and Right
and to some degree the Surround channels for increased
spatial realism. When the overall captured sound is three-dimensional,
the Center dialogue channel can become very thin in comparison
to the rest of the sound picture. Spreading the dialogue
image over a wider space seems to rectify the situation.
This has proven to be very effective when combined with
Holophone derived Surround Sound ambience.
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For Sports
broadcasting in most field sporting events, and for fixed
installations such as arenas, it is desirable to place
the Holophone either near the center of the field, or
else near a Main Camera position off to the one side that
will work in conjunction with the main camera angle of
the broadcast. For example, place the Holophone along
the sidelines on the 50 yard line of a football game,
or facing center ice in an ice hockey arena. Always keep
in mind the perspective of the television viewer. Mounting
the Holophone on a side of a field or rink opposite to
the main camera angle would seem backwards and unnatural.
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In situations
involving multiple and simultaneous use of two or more
Holophone systems, combining the signals together may
alter the localization characteristics of the main recording,
since two soundscapes and perspectives are being combined.
This can be manipulated into an intriguing effect and
can also be used for multiple perspectives of a venue
for DVD, or broadcast, etc.
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For track
sports, including motor sports or running events with
multiple camera angles on corners, hills or jumps, you
can employ multiple Holophone units with an audio switcher
from unit to unit. Use this configuration in conjunction
with a camera switcher to match the changing perspectives
of the cameras.
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The Holophone
can be mounted "upside down" from the ceiling
by turning the adjustment knobs on the sides of the unit,
flipping the system over, and then re-tightening the knobs.
(The top microphone stays in the top position pointing
UP, so that the Holophone's microphone layout remains
intact and compatible when used in conjunction with the
corresponding channels of the eventual playback system.)
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Audio "zoom"
can be achieved by "riding" the faders of
a mixer connected to the Holophone. The front (L,C,R)
channels can be "pushed" in the mix while
the rear (Ls, Rs, CR) channels can be "dimmed"
slightly to increase the fore/ aft bias of the recording
to the front (or vice versa). Side to side "zoom"
can be achieved in a similar fashion.
-
For Holophone
Surround Sound recording of acoustic instruments, including
drum kits, pianos and voice at close range, try placing
the Holophone near or above the instrument that is being
recorded. For vocal or choirs, position the singers around
the Holophone and monitor in Surround to hear the results!
The possibilities are limitless. Please e-mail us and
let us know if you find something cool!
For current tips and tricks in using the Holophone, visit
our website: http://www.holophone.com/inaction.html
Cabling Scenarios 
Direct
to console
Plug the XLR mic-level outputs of the Holophone into the
inputs of a console with gain control and phantom power
available. Treat the outputs as you would eight individual
microphones with each channel hard-panned to its corresponding
surround channel. For most recording situations set the
gain the same across all channels.
 Direct
to recording device supplying microphone with phantom power
Plug the XLR mic-level outputs of the Holophone into the
inputs of a recording device (such as a portable audio recorder
or audio console) with gain control and phantom power available.
Using
a multichannel microphone preamplifier
Plug the XLR mic-level outputs of the Holophone into the
inputs of a preamp. Connect the outputs of the preamp to
the inputs of the console or recording device. Turn phantom
power on, and set gain the same for all channels (relative
to each other).
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