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Summary of Contents for NEVATON BPT
- Page 2 Neutrik 7-pin XLR to 3 x 3-pin XLR, which comes with the microphone - so here it is: “Break-Out Cable” COLOR CODE: BLACK (or GREY) 3-pin XLR: carries signal of capsule 1, which is “L” (for upright position of the BPT) RED 3-pin XLR: carries the signal of capsule 2, which is “R” (for upright) YELLOW 3-pin XLR: carries the signal of capsule 3 “center”, which is the top capsule (for upright)
- Page 3 In order to shield off unwanted signals from the rear it is preferable to place an acoustic barrier (for example in the form of a sound-absorptive acoustic panel) behind the BPT microphone. This helps to achieve a better direct-/diffuse sound (i.e. direct signal /reverb)
- Page 4 (as is the case with many music instruments) need to be recorded. Fig. 3: BPT-mic (normal mode) 2. Use of a HPF on the Center-Capsule (for enhanced de-correlation) Results of various researchers have shown that low signal-correlation (cross correlation) is necessary at frequencies below approx.
- Page 5 (due to the addition of the absorptive panel behind the BPT). A second important factor needs to be considered for the placement of the BPT microphone, which is the physical opening angle of the L and R fig-8 capsules (angled at +/-45°...
- Page 6 Fig. 4: Microphone position vs. listener position in a concert hall [adapted from Faulkner, 1981] 4. RECORDING IN SURROUND Version 1: The BPT in 5.1 mode (see Fig. 5 ->) As stated by audio engineer Tomlinson Holman “… Two channel stereo can produce the sensation of looking into a space beyond the loudspeakers;...
- Page 7 To help visually with the right orientation of the mic-body, there is dashed line indicating the correct 0° alignment of the microphone: ----FRONT 5.1 ----- As can be seen in the scheme of figure 4, the 5.1 surround signal is then created by combining (mixing, i.e.
- Page 8 2 BPT microphones and (at least one) acoustic baffle and absorptive panel in-between. In this case for both front and rear a BPT-mic in 3.0 mode is being used, which directly deliver the signals for L, Center, Right (Front) and LS, RS (Rear).
- Page 9 Fig. 8: Two BPT microphones in ‘Back-to-back’ configuration with absorber panels (for surround rec.) The distance “d” between the two BPT microphones can be varied to control the amount of spatial impression contained in the recording: if d is in the range of 50cm to 100cm spatial impression will be less, if d is in the order of several meters the front and rear signals will be more de-correlated and spatial impression will be larger.
- Page 10 6dB for the strings in comparison to the woodwinds. The further we move the BPT away from a large sound source like an orchestra, the more rounded or ‘naturally balanced’ the sonic picture becomes usually and the more effectively...
- Page 11 500 – 700 Hz. In this case a band-filter tuned to about 600Hz with Q=3 to 5 and an attenuation of -4 to -8dB (inserted on at least the L and R BPT- mic signal) will help to eliminate unwanted sound coloration artifacts.
- Page 12 APPENDIX: Definition of “critical distance” D with 1ft = 0.3048m or 1m = 3.2808 feet crit [m] = 0.057 sqrt (V [m ] / RT60 [s]) …. “Critical distance” (i.e. reverberation radius) crit crit sqrt …. square root [ft] = 0.03147 sqrt (V [ft ] / RT60 [s]) V ….
- Page 13 High Pass Filter Control on rear side of BPT-Microphone: On the rear side of the BPT a filter-selector can be found: A High-Pass Filter with corner frequency at 90Hz can be switched in for all three capsules, if needed. Switch in left position, all three capsules linear.
- Page 14 Frequency responses: NEVATON “BPT”-Microphone FACEBOOK: www.facebook.com search for: BPT-Microphone YOUTUBE: www.youtube.com search for: Nevaton BPT [User manual Rev. 1.5]...
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