Corey/Marti Tree Setup

BASIC
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The Origin
• The Corey/Martin tree is a surround sound microphone technique
designed by Jason Corey and Geoff Martin consisting of three
subcardioid microphones facing the front, and two cardioid microphones
behind them facing the ceiling.
• The distance between the left and right front mics is 120 cm (48 in) with
the center mic halfway between them. The rear surround cardioids are
30 cm (12 in) apart and about 60 cm (24 in) behind the front pair. The
center microphone can be moved forward up to 15 cm (6 in), if needed.
These distances can be adjusted depending on the size of the ensemble
being recorded. A front spacing of 120 cm (48 in) is used for smaller
ensembles, increasing to 180 cm (6 ft) for larger groups. However, with
wider spacing the three front channels become more incoherent.8
The Technique
• The main idea behind a 5-
channel microphone technique
is to capture the entire acoustic
sound field, rather than to
simply present the instruments
in the front and the reverb in the
surrounds.
System response at listener's location
• When recording, consider first the listener's environment. Remember
that the response of the front and rear loudspeakers are different at
the listening position.
• In order to reduce or eliminate this comb filtering, the microphone
array must ensure that the signals produced by some pairs of
loudspeakers are different enough not to create a recognizable
interference pattern. This is most easily achieved by separating the
microphones, particularly the pairs that result in high levels of mutual
interference.
Microphone placement
• The 5.1 recording configuration consists of three front-facing
subcardioids and two ceiling facing cardioid microphones, as shown in
picture before this slide.
• The approximate dimensions of the array is 60 centimeters between
the center subcardioid and the left and right subcardioids, 60
centimeters between the front microphones and the surround pair,
and 30 centimeters between a pair of cardioid microphones aimed
upwards. If desired, the center microphone can be moved slightly
forward of the left and right mic's to an approximate maximum of 15
centimeters.
The configuration's response

• By using subcardioid microphones, the result is a wider pick-up

than is typical with cardioid mics, but with a higher directivity than
omnidirectional mics.
• In this way, the microphones can be placed further away from the
ensemble than omnidirectional microphones for an equivalent
direct-to-reverberant ratio.
• The direct-to-reverberant ratio can be adjusted by changing the
distance between the microphone array and the sound source.
The configuration's response

• The width of the front array is determined by the size of the ensemble
being recorded or by the desired level of inter-channel coherence.
• For a larger ensemble, a wider array (up to 1.8 meters) is likely necessary.
A narrow spacing (1.2 meters) is appropriate for a small ensemble. A wide
spacing will reduce the amount of coherence between the front three
channels, thereby reducing the image fusion between the loudspeakers.
• The microphone array allows for a large listening area in the reproduction
system. Even when a listener is seated behind the sweet-spot, the front
image of the direct sound will remain in the front and will not be pulled to
the rear, despite the listener being closer to the rear loudspeakers.
The Decca Tree
• its origins to March of 1954, when engineers RoyWallace and Arthur
Haddy at the Decca Studios in London prepared for arecording session
with the Mantovani Orchestra.
• Always experimenting inthe then-new medium of stereo, Wallace
assembled a T-shape steel array and attached Neumann M49
microphones to each of thethree ends.
The Techniques
• It uses three omnidirectional microphones in a triangle. Two
microphones are placed left and right approximately 2 m (6 ft) apart
with the third placed in the center about 1 m (3 ft) in front, and
approximately 2.5 - 3 m (8 - 10 ft) up.
• The side mics are panned hard left and right while the third mic is
mixed dead center. This technique produces a strong stereo image. It
is sometimes called A-B-C stereo.1
Microphones

• The technique traditionally uses three omnidirectional

microphones, traditionally of the Neumann M 50 small-diaphragm
pressure transducer tube condenser type, to record in stereo.
• These microphones are not truly omnidirectional at the higher
frequencies, but exhibit some high frequency lift and directionality
which is likely to positively affect stereo imaging of the Decca Tree
arrangement. Variations have been performed using a coincident
pair, in X-Y, Mid/Side (M/S), or Blumlein positioning, in place of the
center microphone.
• The Neumann M 49, KM 53, and KM 56 were also evaluated and
used for early sessions by the Decca team, and later the Schoeps
MK 2S were used by the team for live productions where the M 50
proved too cumbersome
• SC Pro Riser
• Platform
• Guardrails
• VIP Drink Rail
• Crowd Conrtrol Barricades
• Rolling Drum Riser
END OF
SLIDES