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Ambicoustics A new recording technique

James Meeker
10/20/2010

The new technique to capture ambient space, depth and realism in a recording.

Ambicoustics - A new recording technique

Introduction
Okay, I want to share what I consider to be the most innovative technique I've developed for capturing ambient space, depth
and realism in a recording. It's something that I've thought about and worked on for about six years as theory; unfortunately, I
only applied it to one actual session in real life--but with very promising results. Since I'm pretty much retired and out of the
game I felt it was time that I shared it with all of you in the hopes that my ideas get used and perfected by working engineers.
All I ask is that if you use the technique you credit me as the innovator, and get in touch with me so I can hear your results.
I call the technique ambicoustics. It came out of a desire to capture more lifelike, "you are there" recordings recalling the
times when bands recorded in a space together live, but still maintain the control and precision of a modern multitrack, multitake environment. The core idea is to recreate the sonics of a band playing together in a single room but with the added
flexibility of recording each instrument individually. Additionally, ambicoustics makes full use of one of the primary
advantages of modern digital recording--the ability to have massive track counts in a session.
The basic theory of ambicoustics is to strategically place two stereo arrays of microphones in a room--these microphones
NEVER change position (nor do the preamp settings and other elements of the audio chain). The microphones remain in
position untouched. What does move, however, are the instruments being recorded in the room. Critical to ambicoustics is the
placement of drums, amplifiers, percussion overdubs and so forth in the room where they would exist if the band played
together. However, I've further refined ambicoustics to account for optimal placement of the microphones within the room as
well as techniques for mixing the additional ambient tracks.
The benefits to ambicoustics include:
-provides a deep, ambient soundfield without resorting to artificial reverb
-strong stereo imaging and localization of instruments
-recreates the sound of a band playing as a unit
-allows for precise tailoring of ambiance for each individual instrument
-captures and imprints the sonic character of the recording space
However, there are a few drawbacks to using this technique:
-requires commitment to the technique for artist and engineer BEFORE the session takes place
-longer set up time for the session
-it's going to increase studio time, and therefore cost for the clients
-inconvenient if you have to reset the ambicoustic microphones for each recording session
-requires the use of four additional microphones
-requires planning ahead of time to place the elements in the stereo field
-dictates the stereo image of the mix from the onset of recording
-requires additional track management within the session
-requires some additional note taking and record keeping
-requires a multitrack with the ability to handle high track counts
-can greatly complicate mixing
In order to record a session using ambicoustics you need the following:
1.) 1 pair of omnidirectional microphones
2.) 1 pair of microphones capable of a figure eight pattern -or- a stereo microphone capable of figure eight patterns
3.) a digital multitrack system capable of handling 48 or more tracks
4.) a medium to large sized room that sounds great
5.) measuring tools
6.) some tape
I've prepared a number of diagrams and will detail each step of the ambicoustic technique in the following posts.
James Meeker

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Figure 1

The first step to setting up an ambicoustics session is to manage your recording space. The technique requires careful and
optimal placement of two stereo pairs of mics to create the effect of depth, width and ambiance desired.
First you must get the dimensions
nsions of the room. Length, width and height. Write these measurements down as they are integral
to proper setup. After you've calculated the room's size you should consider the session--what
session what instruments are being recorded?
Where are you going to want to place
lace them? Are there going to be a lot of guitar doubles or overdubs? This questions will
dictate where you want the band to "set up", which becomes the focal point of the session.
Generally speaking, regarding placing the band I recommend orienting them to face the longer dimension of the room for
additional depth. However, if you desire greater width or need the space you may place them facing the shorter length of the
room. However, with experimentation I've found that the spaced pair Omni microphones (the
the reflective mics) are 2/3rds of the
room apart and are PLENTY wide for most people. Any wider and the stereo image may break apart a bit unless the room mics
are close enough to 'bridge the gap' in the center. Be careful with your reflective (closer) mics
mics--if they're too far apart things
can get weird. Let your ears and common sense be the guide.
Once you have the room dimensions and have figured out where the band is going to be playing divide the room into equal
thirds. You may wish to mark the measurements with a small piece of tape on the wall or floor. Double check the
measurements to make sure they are accurate.
When the room is divided into thirds you have two areas: the performance area,, consisting of one-third
one
of the room, where all
of thee instruments will be placed individually for recording and the ambient area,, consisting of the remaining two-thirds
two
of
the room where the ambicoustic microphone arrays will be placed.

James Meeker

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Figure 2

This illustration shows the division of the room into the performance and ambient areas. When planning the session take into
account that all instruments will have to be placed somewhere within the performance area soundfield. Overdubs of
instruments, like maracas, shakers, guitar solos, and other additional elements should be taken into account when designing the
setup.
Also take into consideration the final mix--do
mix do you want the shakers to be far right or left, maybe more midfield? Successful use
of the ambicoustics
mbicoustics technique requires the engineer to think ahead and plan for where the instruments are going to reside in the
final mix. Make sure to work with your artists to address their aesthetic requirements and plan. Success or failure is going to
depend on your pre-production
production and planning!

James Meeker

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Figure 3

After you've decided where the instruments are going to be placed in the mix and the "live" performance, you should mark
their positions with tape on the floor. If you've got an especially crowded performance area you may want to double check by
moving the instruments in place to see
ee if they will fit. The reason this step is important is so you don't create confusing or
blurred acoustic images when capturing the early reflection patterns that assist us in determining localization and stereo
imaging. The main strength of ambicoustics is to capture subtle differences in room position of the elements to create a lifelike
recording.
Remember that with ambicoustics you have three options:
1.) placement to the left and right; i.e. "width"
2.) placement front to back; i.e. "depth"
3.) placement up and down; i.e. "height" (this is the least audible and important factor however)
Yes--because
because of the unchanging position of the mics and their differing heights, distance and polar patterns, the interplay
between the room and instrument, and the "set and forget" audio chain to the room/reflective mics subtle--yet
subtle
listenable-differences.
s. You can work in three dimensions. If something needs to be "further" away from the listener in the mix move it to
the rear of the performance area. If it needs to be more "in your face" move it closer to the front and so on. Take advantage of
placement within the room!

James Meeker

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Figure 4

Now we are ready to place our first microphone array--the

array
room mic.. The room mic is a Blumlein array based in the center of
the rear third in the ambient space (see attached diagram). A Blumlein array consists of two microphones
mi
using the figure eight
pattern configured in an "XY" shape facing approximately 90 degrees from one another. Because of the figure of eight polar
pattern this array will capture sound in front of and behind the microphones--allowing
microphones allowing for the greatest
great capture of the
reverberant tones of the room. Later, when we discuss mixing I will detail how you can alter the balance between the direct
(front of the mic) and indirect (rear of the mic) sounds captured by this stereo pair.
Because the microphones are
re placed so close to one another it is important to double check your phase. Make sure their
diaphragm elements are perfectly aligned and that phase is good.
The height of the room microphone should be high--it
high should be two-thirds
thirds of the floor to ceiling
ceilin height in the air. In other
words, if your room is 12' tall the microphone should be 8' off the floor. The microphones should be directly facing the front
fron
and back walls on an even plane--do
do not tilt or angle the microphones. The purpose of the room mics is to capture the
ambiance and air of the instruments as well as the natural reverberation of the room.
(Note: the closer pair of mics, the reflective mics, are placed closer to the ground--between
ground between these two pair of mics you have a
near and low set, and a far and high set, which allows for the greatest room capture and variation between the microphones.
Additionally, the reflective mics are better able to capture the body of the instruments as they are more inline with the direct
dir
source.)

James Meeker

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Figure 5

Now it is time to place the closer pair of mics, the reflective mics.. The reflective mic pair consist of two omnidirectional
microphones arranged in a far spaced pair from one another. Each microphone should be placed one-sixth
one
the width of the
room from
om the right and left wall respectively at one-third
one
the length of the room--on
on the threshold of the performance area (see
diagram). These microphones are absolutely critical to the success of an ambicoustic recording for a number of reasons.
The purpose of this stereo pair is three fold:
1.) First, it establishes stereo image through sheer volume of the stereo sides based on proximity of the instrument being
recorded. Obviously, a guitar 3' in front of the right microphone is going to be louder in that side than the left microphone
across the room. This is the first element of stereo image--relative
image relative volume from the direct soundwaves.
2.) Secondly there are going to be time delays based on which reflective microphone the instrument is closest. This takes
advantage of the Haas effect, which assists us in determining the location of a sound. This further enhances the stereo image in
the recording.
3.) Finally, these microphones, being omnidirectional, are going to capture early room reflections which aid our
o senses in
determining localization of a sound source. This is the final aspect for determining the relative position of audio for a listener.
lis
The optimal height these microphones should be one-third
one third the distance from floor to ceiling. Thus, if your room
roo is 12' tall these
mics should be 4' off the floor. This pair sits a lot lower than the room microphones in order to capture a bit more of the direct
d
sound, which aids in the stereo image, as well as to hear a bit more of the "meat" of certain sounds--especially
sounds
drums, as it will
grab a bit more kick and a bit less of the cymbals.

James Meeker

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Figure 6

This is what your finished setup for the room and reflective mics should look like. Once you have it set up you should double
check everything. Perform scratch tests (have someone physically scratch each mic while you monitor) to make sure that each
microphone is in the proper position in the session--you
session you don't want to confuse a left microphone with a right microphone when
mixing as itt will ruin the delicate reflections and natural reverberation you are trying hard to capture.
At this time we should discuss the proper setup of the ambicoustics microphones in the audio chain.
chain First, you want to set the
preamp (and EQ and compression if you choose to use those as well) and LEAVE IT THE HELL ALONE for the rest of the
session. This is critical to the process! You need to set the preamp at a gain setting that "works" for *ALL* of the instruments
instrume
you are going to be recording. You don't want to change the preamp instrument-to-instrument
instrument at all--you
all
want identical preamp
coloration for each instrument. Additionally, you want the same EQ and compression settings as well.... everything should
remain the same.
However, because of the nature of compressors
ompressors and limiters I recommend NOT tracking with them and saving them for the
mix, when you can group all of the tracks together in an aux. The reason is simple--if
simple if the band played together the compressor
would be working on the ENTIRE signal, not a little
little bit of each track. By saving compression for the mix you help complete
the illusion that this track occurred all together at a single moment in time.
Now, to best set your preamp gain you can run a test. Have the band play in the room together with approximately the
settings/volume they'll be using when recording. This will get you in the ballpark. Make sure to leave a little extra headroom
headroo
just to be sure.
Once you have the microphones set up and your preamps configured I heartily recommend you take
tak a few minutes and
document everything. Write down the preamp setting. Tape the floor for the microphone locations. Take some pictures to be
sure. Make sure you can absolutely recall this setup at a later date. This is very, very important.

James Meeker

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Figure 7-10

James Meeker

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Now you are ready to track.. I chose drums because those are typically the first thing that gets recorded in most rock, pop, and
metal sessions. Obviously you may choose to record the instruments in whatever order you feel like.
To set up to record the drums do everything you would normally do. Place your close mics however you want. Mic the snare,
kick, toms, overheads--just
just don't set up a room mic (you already have those times two!). Same with the other instruments--mic
instruments
them as you normally would in addition to the room mic arrays.
Continue onwards and record the guitars, more than likely both left and right, and then the bass. Keep recording instruments
and moving them around in the room to where they would be in a live situation until you have recorded all of the
instruments. Keep in mind that you can think in terms of both stereo image (left to right) but also DEPTH--near
DEPTH
to far. If
something is going to be a bit back in the mix move it to the *rear* of the performance area. If something needs to be 'up front'
move it there. Remember that subtle changes of depth are going to add realism and dimension to the final product so you
should take advantage. This is a major benefit of the ambicoustics technique!
One note on guitar overdubs--if youu are looking to *DOUBLE* a part to make it thicker you may want to leave the amplifier
where it is for the double. Don't touch it. However, if it's a different part or sound you should move the amplifier over a bit
b to
create the illusion there are multiplee amplifiers. If you have, for example, a lead guitar part you might want to move it closer to
the center of the soundstage.
Avoid the temptation to mess around with the ambicoustic microphones. Don't touch the preamp gain, don't try to find a better
mic for the instrument than what you have. The idea isn't "optimization" but to create the illusion that all the instruments were
recorded together. Changing the ambicoustic equipment runs contrary to this goal.

James Meeker

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On Tracking and vocals

The most important thing to keep in mind when tracking an ambicoustics session is to label everything, stay organized and
make sure that ALL of the tracks are being recorded. Always double check to make sure you armed the ambicoustics
microphones! You wouldn't want to forget those.
Now, obviously here comes one of the drawbacks to using this technique--massive track count. For example, let's look at what
a typical band might have for total tracks after recording just instruments:
CLOSE MICS:
Kick
Snare top
Snare bottom
Tom 1
Tom 2
Tom 3
High hat
Overheads (stereo)
Guitar 1 SM57
Guitar 1 MD421
Guitar 2 SM57
Guitar 2 U87
Bass direct
Bass RE20
15 tracks direct
AMBICOUSTICS MICS:
Drums reflect (stereo)
Drums room (stereo)
Guitar 1 reflect (stereo)
Guitar 1 room (stereo)
Guitar 2 reflect (stereo)
Guitar 2 room (stereo)
Bass reflect (stereo)
Bass room (stereo)
16 tracks ambicoustics--31 tracks total for just drums, 2 guitars and bass!
So track management is key! Make sure your system can handle the load it's going to take.
Another thing I'd like to talk about are vocals. The only aspect of ambicoustics I found lacking was applying the technique to
vocalists. It just didn't really work out that well in my opinion. Now it may be really, really cool for gang vocals, backing group
vocals or choirs--but on lead vocals I thought it was not only a waste of time but actually detrimental to the track.
So generally speaking I recommend tracking vocals the traditional way--in the vocal booth. This doesn't completely "sell out"
the technique because not very many classic albums featured live on-the-floor vocals. They did these in a vocal booth, or
almost assuredly after the fact. There's nothing wrong with this, in fact this is what I'd do.
And when it comes time to mix you'll want to treat the vocals as you would normally--reverb or delay just like a normal
production. Hey, the formula works. Besides, the real added acoustic benefits of ambicoustics are mostly to be had with
instruments, filled with transients and volume to really take advantage of the studio space. Like Bruce Dickinson said--you
have to really explore that studio space!
Tomorrow I will continue with the proper mixing techniques and how to take advantage of all this elaborate setup and
recording.
Oh--if anyone knows how I could maybe get this published in Tape Op or Mix let me know. Maybe it's pride of authorship but
I'd like to see techniques like this used more often as I think we'd have more interesting sounding records being made.
Also, I will try and post the track I did using ambicoustics, which used to be up on MySpace when I had an account there.
James Meeker

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Responses on questions
Quote:

Originally Posted by judah (Post 5914281)

The concept is interesting in that I tried it myself in the past. I put up two stereo pairs, one facing the band and the other just
the opposite. Plus all the direct mics. The room mics were blended in with all the directs and used in place of reverbs.

While the setup I've outlined is important, the truly distinguishing factor in ambicoustics is setting up the room as if the
band were going to be playing live, but then recording each instrument separately take by take. I may be wrong, but it
sounded like you set up the room and recorded the band as a unit which is something altogether different.
The principle concept is the idea of static, unmoving room mics coupled with moving each instrument around
physically in the room to capture its spatial positioning. By recording each element separately one still has the ability to
control the amount of ambiance present in the final mix on an instrument to instrument, track by track level. Plus, when
I outline some of the mixing techniques you'll see that one has the ability to fine tune each instrument's frequency
response with high and lowpass filters. Additionally, the proper mix technique involves bussing the reflective mics
together as a unit and the room mics as a unit and processing them as a group--like what would happen if they were
recorded together (which helps to complete the illusion).
Sorry if I'm splitting hairs, but micing the room is only the first step of what I'm outlining. Through trial and error I
discovered what I believe to be the most effective way in which to really bring out the room and accent the localization
of elements within a recording environment and thus the long diatribe on preparing the room.
The core idea is moving the elements in a room while keeping the room mics in a fixed position.
Hope you get a chance to try it out. I'd love to hear any results.

Quote:

Originally Posted by brandonhackler (Post 5914683)

Ive only skimmed but does this turn into a phase nightmare?

Not if you have a sufficiently large room (I'd say 18x21 minimum) to keep the reflection mic array off the main
instruments. The 3:1 rule of phase keeps things solid. This is why I recommend testing out the exact position of the
microphones briefly by having the entire band set up and play a little bit--mark the positions with tape and begin
tracking each instrument individually.
Also--if there are phase issues you can adjust the position of the instruments in the room slightly to compensate.
The end product is going to be the same types of phase relationships if you mic'd the entire room with the band playing.
It'll work; this technique worked in the 1950's and 1960's before we decided to direct mic everything under the sun
(twice).

James Meeker

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Quote:

Originally Posted by evangelista (Post 5914589)

I'm curious to see what you think the advantage of this system is over, say, just taking DI's from the electric/electronic
instruments, then reamping them simultaneously into the ambient mics during mix. It would cut down track count
enormously, and you wouldn't have to commit to stereo placement as much.

Because reamping is going to color the sound with the speakers and amplifiers used. Because you are not getting the
TRUE sound of the instrument in the room--a drum kit, for example, is going to disperse frequencies in all
directions differently than speakers which are largely directional (except for the lower frequencies which will sound
mono directional). Same thing with a guitar or bass signal, or percussion overdubs like a shaker.
For something like a synthesizer or keyboard I *ABSOLUTELY* recommend reamping them in the ambicoustics room
with their proper positioning to maintain the full spatial benefits of this technique. Imagine the possibilities of having a
Leslie speaker at your disposal in an ambicoustics room!
Committing to stereo placement is absolutely essential to the technique, especially since you can capture not only leftto-right imaging but front-to-back. It requires planning and decision making, but I wouldn't consider it a "deal killer."
Generally speaking how many of us wait until the mix to decide where something is going to be placed in the stereo
image? I sure don't! Too many people are putting off too many decisions until last moment and playing things safe. This
technique is contrary to that. It is going to lend itself to a more "vintage" or "classic" sounding record which may be
inappropriate for some sessions.

James Meeker

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