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Gerzon Array for Ambient Recording

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Re: Gerzon Array for Ambient Recording

Postby Bob Bickerton » Tue Apr 13, 2021 10:30 am

Wonks wrote:
Hugh Robjohns wrote:One other thing in passing about Bob's array... those capsules are extremely close to the inner surface of the ball gag, and therefore wind attenuation will be considerably poorer than intended.... although it may still be adequate for the intended application.

Are you saying Bob needs bigger balls? :D

Unnecessary.......

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Re: Gerzon Array for Ambient Recording

Postby Hugh Robjohns » Tue Apr 13, 2021 3:22 pm

:D
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Re: Gerzon Array for Ambient Recording

Postby Dave B » Wed Apr 14, 2021 1:17 pm

I can't comment on the array or its usage, but what I can say is : anyone interested in the 'surround-y bit around the microphones' should NOT google 'ball gag'. Trust me on this one...
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Re: Gerzon Array for Ambient Recording

Postby Hugh Robjohns » Wed Apr 14, 2021 1:26 pm

:bouncy: Definitely NSFW
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Re: Gerzon Array for Ambient Recording

Postby forumuser840717 » Wed Apr 14, 2021 2:58 pm

A few years ago I got some very funny looks on an outdoor stage after putting out a call on a walkie-talkie saying that I'd forgotten to pick up the ball gags and if anyone was near the van could they bring them to the stage please!

The only female on the crew, a student doing her first work experience job with us, said she was thinking of reporting me to her professor for being "inappropriate" until she saw that the cases I received were labelled "Rycote Ball Gags 1 (Strings)" and "Rycote Ball Gags 2 (Wind)" and discovered that that was what they were actually called!
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Re: Gerzon Array for Ambient Recording

Postby Hugh Robjohns » Wed Apr 14, 2021 3:02 pm

:D
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Re: Gerzon Array for Ambient Recording

Postby Arpangel » Thu Apr 15, 2021 7:06 am

Wonks wrote:Red/green port/starboard was long before the BBC! 1848 or so.

Surely if you go by the names of the colours, you should use lavender or lilac for left? :D

Yes, I was referring to its use when identifying audio cables, wonder when that came in, and was it the BBC?
Also, this must be the only forum in the world where you can "safely" talk about Bobs array and ball-gags.
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Re: Gerzon Array for Ambient Recording

Postby Tomás Mulcahy » Thu Apr 15, 2021 6:05 pm

It looks lovely Bob, I'd love to hear your bush recordings :crazy: (seriously, I would). I'm experimenting here with a much cheaper rig. Sony ECM-717 XY plugin power mic in a parabolic reflector from https://parabolicmicrophone.co.uk/

First experiment had some issues, but the imaging is great:
https://parabolicmicrophone.co.uk/pages ... -in-stereo

(I am not affiliated with the site BTW)
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Re: Gerzon Array for Ambient Recording

Postby Sam Spoons » Thu Apr 15, 2021 6:20 pm

As a few of you probably know I'm a keen sailor and the problem I have with green for right and red for left is that cables often come in other colours so I have never properly settled on a standard. Given the choice I do go for the BBC standard but if you ain't got a green cable you're buggered (an old sailing term BTW :blush: ).
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Re: Gerzon Array for Ambient Recording

Postby forumuser840717 » Thu Apr 15, 2021 8:57 pm

Sam Spoons wrote:As a few of you probably know I'm a keen sailor and the problem I have with green for right and red for left is that cables often come in other colours so I have never properly settled on a standard. Given the choice I do go for the BBC standard but if you ain't got a green cable you're buggered (an old sailing term BTW :blush: ).

If you mean things like signal cables with XLRs or 1/4" jacks (or many other connectors really), there are lots of temporary, semi permanent or permanent ways to colour code things.

I try really hard not to use coloured cables on stages or to hang mics as they can be visually distracting and upset lighting directors or vidiots. All but a handful of my XLR mic cables are black, dark 'BBC brown', or VDC dark blue (those, mostly 2 channel cables). I do have some others like grey for when they blend better with the surroundings, or for use on sessions where it doesn't matter what colour they are, or for shorter cables (<3m) which are mostly used as extensions or to plug things together in the control room or other out of sight locations, and some VDC green AES multipairs but they generally don't get used anywhere that they'll be obviously visible (unlike one major venue which mistakenly ordered an entire new stage-multi system in VDC Green Series multicore, which doesn't look great).

To ident cables, I ignore the colour of the cable itself and use a mixture of coloured cable glands like these and/or marker rings like these. There are similar products available for jacks, Ethercons, etc.. Or, failing that, a piece of some kind of coloured marker, e.g. a colour coded plastic cable marker like these (lots of types are available, with or without numbers/letters/symbols on them), or something as simple as a piece of coloured electrical tape (or even coloured paper) fitted to the cable under a piece of transparent heat shrink to protect it (don't use ink jet printed colours as they change relatively quickly, especially when exposed to sunlight or other UV sources).
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Re: Gerzon Array for Ambient Recording

Postby blinddrew » Thu Apr 15, 2021 10:26 pm

All my guitar cables are different colours to help stop other bu88ers walking off with them...
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Re: Gerzon Array for Ambient Recording

Postby Sam Spoons » Thu Apr 15, 2021 10:49 pm

forumuser840717 wrote:
Sam Spoons wrote:As a few of you probably know I'm a keen sailor and the problem I have with green for right and red for left is that cables often come in other colours so I have never properly settled on a standard. Given the choice I do go for the BBC standard but if you ain't got a green cable you're buggered (an old sailing term BTW :blush: ).

If you mean things like signal cables with XLRs or 1/4" jacks (or many other connectors really), there are lots of temporary, semi permanent or permanent ways to colour code things.

I try really hard not to use coloured cables on stages or to hang mics as they can be visually distracting and upset lighting directors or vidiots. All but a handful of my XLR mic cables are black, dark 'BBC brown', or VDC dark blue (those, mostly 2 channel cables). I do have some others like grey for when they blend better with the surroundings, or for use on sessions where it doesn't matter what colour they are, or for shorter cables (<3m) which are mostly used as extensions or to plug things together in the control room or other out of sight locations, and some VDC green AES multipairs but they generally don't get used anywhere that they'll be obviously visible (unlike one major venue which mistakenly ordered an entire new stage-multi system in VDC Green Series multicore, which doesn't look great).

To ident cables, I ignore the colour of the cable itself and use a mixture of coloured cable glands like these and/or marker rings like these. There are similar products available for jacks, Ethercons, etc.. Or, failing that, a piece of some kind of coloured marker, e.g. a colour coded plastic cable marker like these (lots of types are available, with or without numbers/letters/symbols on them), or something as simple as a piece of coloured electrical tape (or even coloured paper) fitted to the cable under a piece of transparent heat shrink to protect it (don't use ink jet printed colours as they change relatively quickly, especially when exposed to sunlight or other UV sources).

All good info, I've been there and done most of that but, when I was 'working in the industry' (such as as it was) I was very much at the grass roots end of the game and my personal kit was mostly used for function bands and pub gigs (where nobody is going to criticise the colour of the mic cables) with a couple of very small festivals a year so coloured mic cables were useful. With 10 bands in 8 hours coloured mic cables you can see from the desk make life easier.

Horses for courses and, as you say, where the aesthetic is important like a video or theatre show then subdued colours are good but you are probably not worrying which forking mic the third girl singer from the left has picked up (assuming the mic is live that is, I remember a gig where the manager instructed me to mute the girl band's wireless mics as soon as the track started playing).
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Re: Gerzon Array for Ambient Recording

Postby Hugh Robjohns » Thu Apr 15, 2021 11:27 pm

The coloured glands and collars on Neutrik XLRs and jacks work very well and I use them a lot, too.

Talking of identifying who is using which mic via colour coding, I still have nightmares about mixing sound for the regional contributions on a BBC Children in Need in the mid 80s. There was a large L-shaped sofa on a studio set where the hosts could interview a variety of people throughout the night in front of a modest audience: members of the public bringing in buckets of money, company reps with donation cheques, passing celebs, local politicians, etc etc.

My only sound assistant was kept busy wrangling radio mics and swinging a fishpole outside most of the time, so I had to rely on the studio floor manager to fix wired lavalier mics on the sofa guests.

To give me a fighting chance of knowing who was talking on which mic, I fitted coloured foam windshields to the five wired lavalier mics (red, blue, green, yellow and black) which I could see on my colour preview monitor. My scheme worked fine for several of the studio chat inserts... Until the politicians turned up late in the evening.

Looking back, this was completely inevitable, of course, but I sadly hadn't predicted it...

The floor manager got the politicians on to the set, sat them down and clipped on their mics, I did a quick sound check and all seemed well.

However, while my attention was focused on an outside piece the politicians realised that their windshield colours didn't correspond with their party colours, so they swapped them all around. And the floor manager didn't notice either.

So the director cuts into the studio, the host does his link and questions the first politician wearing the red mic... who sounds very distant... And then i discover hes on the yellow channel... As the others start chiming in I'm desperately struggling to figure out who is on which fader, and so it sounds like I'm late with all the fades and it all sounds pretty terrible until I applied the only solution of pulling everything up at the same time and just accept it all being a bit more open and coloured (from the PA spill) than ideal!

I was definitely not a happy bunny after that one! They say never work with animals, kids, or politicians... And I've done all three and can vouch for the sage advice! :lol: :crazy:
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Re: Gerzon Array for Ambient Recording

Postby Sam Spoons » Thu Apr 15, 2021 11:48 pm

My embarrassments have come from much further down the tree but I feel for you all the same...
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