Height Layer Comparison (2024)
Co-Principal Investigator, Author, Audio Engineer
Most immersive microphone arrays assume reasonably sized point sources, especially concerning the placement of height microphones. However, the pipe organ is not often considered a reasonably sized point source. In turn, the established practices related to height microphone layer placement become unreliable in capturing a pipe organ performance for multichannel formats. The impact of height microphone layer position on perceived realism of a pipe organ recording is explored.
This publication (presented at the 157th Audio Engineering Society Convention) may be found here.
A Dolby Atmos binaural rendering of this recording is provided here, but a more in-depth comparison tool (uncompressed, including different binaural renderers and the ability to toggle between height microphone layer positions) may be found here.
The Carnival of the Animals Project (2022 - 2023)
Audio Engineer
In fall of 2022, I joined this grant-funded initiative as the audio engineer to 5 recordings from selected movements from Camille Saint-Saëns’ The Carnival of the Animals for use within a 5 part educational video series to be distributed to elementary schools in rural communities around Indiana.
These performance recordings took place during October of 2022 in the Jacobs School of Music Auer Hall, with accompanying educational videos filmed and edited from 2022 - 2023.
Kian Ravaei, Feeling New Strength (2022)
Recording Engineer
Recorded while demonstrating recording large ensembles on a budget, Ravaei’s Feeling New Strength was recorded with a total of four microphones: an XY stereo pair and two flank microphones. While this recording was done with a budget of around $1200, the principles discussed allow for a budget as low as $600.