Nuendo is an example of software from a third party that can take your raw recording and turns it into four channels of ambisonic audio – the industry-standard for VR – leaving you with a finished mix. No wireless rear speakers, no separate subwoofer; just a lot of drivers, amplification, and some sonic magic to create a fully immersive surround experience from a single bar. Conversely, using third-party software (which is plentiful), users can mix B-format audio into surround sound, 3-D binaural stereo or even mono. I recorded all four channels to individual mono tracks, as well as a quad track. I was troubled with strain-relief. They say that the best inventions are the simple ones. He writes about engineering and production, musicianship and music equipment for a number of publications including his own site. Ben is a writer and musician from the UK with a background in music technology. Within that software, users can rotate the sound field left or right (simulating the turning of your head), engage a global high-pass filter, apply Ambisonic filtering (said to enhance the imaging and soundstage when mixing for a 3-D sound field), place the software to the mic’s original positioning (either vertically up, which is the ideal method, straight down or horizontally), and mix to one of two Ambisonic formats (Classic FuMa or ambiX), all in post-production. Likewise, with the ambisonic filter option, I bypassed it, too; it seemed to take away fullness and add some overbearing 12 kHz sizzle. I’m told that the Rycote 25 mm BBG kit is perfect. Review: The Sennheiser AMBEO VR Microphone. You can even try creative vocal recordings. Sennheiser’s new Ambeo soundbar is a wiz machine for music, films, and especially Dolby Atmos content, easily standing as one of the best-sounding bars … ... Schrijf review. Now, imagine being able to hear that around you just like in the video, but without any speakers around you: just the soundbar in front of you. However, if you want to tinker with the sound, the app allows for a fairly basic 4 … Visit our corporate site at www.futureplc.com. With emphasis on the latter, Sennheiser’s Ambeo VR mic uses four pre-polarized KE14 condenser capsules in a tetrahedral array. Also there is a web clip posted on YouTube via John Hendicott’s Aurelia Soundworks. This microphone is something of a trailblazer for those who love immersive audio. Next, I chose the ambiX output format and sent the signal to Noisemakers’ AmbiHead software for 3-D binaural processing. The Sennheiser Ambeo Soundbar is an excellent speaker for anything you want to listen to and creates an impressively wide sound field, though for $2,500 it can benefit from a dedicated subwoofer. The mic requires 4x phantom power (typical 48 V, but to all four capsules), will handle 130 dB(A) at 1 kHz, and has 18 dBA of self-noise. Here, these four cardioid capsules are utilized in an arrangement where none are pointing directly to the front or sides, but all are at 45 degrees off-axis. It requires phantom power, which is to be expected from a high-fidelity condenser microphone. Review: The Sennheiser AMBEO VR Microphone 3D sound with unprecedented ease, unlocked with the Sennheiser AMBEO VR Microphone. Tetrahedral recording is nothing new in itself, as it dates back to the 1970s. I found preliminary tests with a trio of acoustic musicians, Foley and nats to be encouraging; the Ambeo was definitely isotropic and a lot more omnidirectional than any so-called “omnidirectional” mic I’ve ever used. I have stereo monitoring in my recording studio and only work with surround sound at broadcast facilities, so my hands were somewhat tied when it came to the many apps capable with this mic. However, being condensed into one microphone is pretty new, and with new technology by AMBEO to better understand and process the 3D audio field, this VR mic is of exceptional quality. By Ben Jacklin. This microphone may not have been simple to design, but in theory, it simplifies the process of recording in immersive audio. [For such binaural delivery, Sennhesier recommends Noisemaker’s AmbiHead plug-in, available at noisemakers.fr/ambihead/)—Ed.]. There is no reason why you can’t record a guitar or other individual instrument with the microphone, and you can pick up nuanced detail and a 3D sound in the process. This software will take the mic’s A-format, four-channel output and convert it to four-channel Ambisonic B-format audio. The top end wasn’t excessively bright and there was strong bottom end, so any fears of a thin-sounding electret were put to rest. They say that the best inventions are the simple ones. The AMBEO VR microphone makes its surround recordings by taking “tetrahedral” recordings using four KE14 condenser capsules. The “Ambisonic” software needed to process the signal can either be downloaded from Sennheiser, or third-party options can process the sound. Couple that B-format audio with game development, 3D movies, virtual reality HMDs and who-knows-what in the near future: Ambeo VR owners have a microphone that becomes a wildly creative tool on the cutting edge of post-modern content creation. The Rycote suspension has a slim retaining clip to grab the four very small (yet strong) cables, but at only 18 inches long, there’s not enough length to get the connections down on the floor (where they belong). Update my browser now. I used a Focusrite ISA428 mkII with 40 dB of gain and found a bit of a noise floor that I attributed to equipment fans and actual room noise, not the mic. Instead, a wind zeppelin or perhaps a Rycote boom-pole/wind-kit would be ideal for location work. There are four different channels, and as explained on the manufacturer’s website, the sound is spherically captured by ambisonic technology and rendered binaurally for playback, so you can “virtually rotate the orientation of the perspective in all directions, horizontally and vertically.” What people are looking for when it comes to this type of microphone is control over the stereo field and where the sound is coming from; this ability isn’t sacrificed by having the mic in one handy package. Creative audio recording. Published: July 7, 2017. We expect to see other manufacturers follow suit, with their own offerings that are similar to the AMBEO VR Microphone. This makes a great “room mic” for picking up all of the sounds within the room or auditorium you are in. For field recordings as well as studio use, this can give engineers the opportunity to explore new space within their work. Sennheiser Ambeo Headset vs. Ambeo VR Microphone Sometimes the best thing for the job is what’s easiest to use, and the headset follows the “plug and play” philosophy. This software has powerful capabilities to steer the audio with Pitch, Yaw and Roll controls (chin up/down, swivel side-to-side, tilt left and right), stereo width, the ability to load numerous binaural head profiles and even add back some of that bass that seems to get lost in the Ambisonic process. However, this microphone hardware would be for naught without some proper Ambisonic software. 3D sound with unprecedented ease, unlocked with the Sennheiser AMBEO VR Microphone. Luckily, the Sennheiser Ambeo Soundbar uses its size well, making for outstanding audio performance. The mic mounts via a Rycote suspension: one of those types with plastic suspension arms for cushioning (rather than elastic bands) and very tight tolerances to firmly grip the mic without any threading or tightening of nuts. Ambeo VR’s four capsules directly feed four outputs on a 12-pin DIN connection that terminates in a four XLR-M pigtail that is 18 inches long. Sennheiser’s Ambeo VR mic uses four pre-polarized KE14 condenser capsules in a tetrahedral array. When processed with Sennheiser’s own ambisonic software and third-party down-mix software, Ambeo VR’s signals can be decoded to stereo, surround sound or a fully spherical 360-degree soundfield, contained in four channels of B-format ambisonic audio as utilized in today’s interactive virtual reality (VR) standards. It also requires phantom power to operate.