by Pedro Firmino
In continuation to our previous blog post “How to stream 3D audio in Binaural format with ZYLIA ZM-1 and ZYLIA Ambisonics Converter plugin” ... Here is how you are able to accomplish the same effect in a Windows system using a DAW with ReaStream and ZYLIA Ambisonics converter plugin.
What you require:
- ZYLIA ZM-1 microphone array
- ZYLIA Ambisonics Converter plugin
- BinauralDecoder plugin by IEM ( https://plugins.iem.at/ )
- ReaStream plugin (https://www.reaper.fm/reaplugs/ )
- DAW of your choice.
- OBS (as a streaming application)
Step 1: Receive input of the ZM1 into your DAW
As the first step we need to receive the input from the 19 channels of the ZM-1 to a track in the DAW, therefore connect the ZM-1 microphone, open your DAW and select the ZM-1 as your Audio device.
Afterwards, create a track, change the number of channels from 2 to 20 and add the ZM-1 as a 20 channel input source.
By arming the track to record, you should now be receiving the 19 multichannel signal from the ZM-1 into your DAW.
Step 2: Achieving Binaural sound using ZYLIA Ambisonics Converter plugin and IEM Binaural Decoder
On the FX chain of the ZM-1 input track you will have to add the following plugins in this specific order:
On the BinauralDecoder, you may choose to add some headphone equalization if you believe it’s necessary for the streamed audio.
For last, in the ReaStream plugin, remember to have your track armed and enable live monitoring.
To send the output for your streaming application, enable “send audio/MIDI” in the ReaStream plugin and select “local broadcast” from the dropdown list.
Step 3: Receive the signal in OBS
On the right side of OBS, open the Settings and click the Audio settings.
In the Desktop Audio choose your output device. In this case Speakers. Confirm with OK.
With the Desktop Audio added, click on the cog Icon and select Filters.
In the + Icon add a new VST 2x Plug-in: Choose ReaJs (it is included in the ReaPlugs vst pack).
Click the Open plugin interface, click Load – Utility – Volume. Set the volume to the lowest.
On the Filters window, also add ReaStream-standalone plugin. Open the Plug-in Interface and select to receive. Make sure the identifier is the same as in the Reaper session.
You will now be using the ZM-1 as an input audio device and are ready to start streaming!
by Eduardo Patricio
Let’s talk about recording music!
This tutorial will address key points to help you improve your sound and get to a great demo with your ZYLIA MUSIC set. All you need is the ZM-1 mic, ZYLIA Studio application and your music.
Before going any further, the general tips / rules apply:
Ok, have said that, as usual, let’s break it down into steps:
A - Rehearsal room / Setup
You can record in rooms with great or not-so-great acoustics.
Key things are:
A1 - Place the ZM-1 mic in a central position in the room;
A2 - Avoid standing near walls. This will help specially if your room doesn’t have great acoustics.
B - Recording
C – Mix and export
Once you have your recording you can adjust the volume of each instrument to get a better balance. You can also apply equalization to enhance desired or hide unwanted characteristics of each instrument.
If you record 2 guitars, say, with different functions (one focused on doing chords and the other more high-pitched patterns or solos), you can enhance the low end of the 1st and the high end of the 2nd one.
When you’re done with your mix, just export your demo and that’s it!
To illustrate, here are 2 ZM-1 examples of ZM-1 recordings in completely different spaces, a martial arts practice room and in a church. Have a listen!
Recording done in a room with, err…, not-so-great acoustics
Recording done in a room with beautiful and style-matching acoustics
If you’d like to go further with mixing, you can either:
Let’s have a look at an easy way to get a music track done, from recording to mastering. It’s quick tutorial time!
Alright, the main steps to take are: (A) recording, (B) mixing and (C) mastering.
Let’s breakdown main steps A and B in ZYLIA Studio (5 sub-steps):
In step 4 (Mix), for each instrument, you can define:
Once you’re happy with you mix, it’s time to export the resulting stereo file:
The 6th sub-step (the last one!) is submitting your track to be mastered by the folks at LANDR.com
by Eduardo Patricio
In general VR related workflows can be complex and everyone seems to be looking for standard solutions. Here, we will show you, step by step, how to prepare a 360 video with spatial audio in, possibly, the shortest way!
After following steps A, B and C, you’ll have a video file with 1st order Ambisonics spatial audio that can be played on your computer with compatible video players (e.g. VLC) or uploaded to YouTube.
OK, let’s have a close look at each step.
Having said that, a small horizontal offset is not the end of the world
With the gear in place, start recording both audio and video and clap in between the mic and the camera. The clap sound spike can be used to sync the footage later.
Here’s a video showing all the sub-steps in Reaper:
If you need to check how the recording sounds, add a binaural decoder plugin (e.g. IEM Binaural decoder) to the audio track, after ZYLIA Ambisonics Converter.
Now you can enjoy the spatial audio
*Software tools used
Allegro generic alternative for us to test: https://allegro.pl/oferta/ramie-przegubowe-11-magic-arm-do-kamery-8505530470
by Eduardo Patricio
Earlier this year (2019), during Easter, we recorded a string quintet concert* with 2 ZM-1 microphones. One in front of the ensemble and 1 behind it. Very simple and portable setup with powerful postproduction possibilities!
Here’s a quick example of the multi-track possibilities we have from the recordings:
How we did it
Using ZM-1 microphones basically allows you to have multi-track recordings from single mics.
Here’s what we did for this project in 5 steps.
1. We recorded the 19 channels from each ZM-1 directly onto DAW tracks on each laptop. The result was 2 uncompressed, 24-bit, 48KHz wave files.
Resulting multi-channel audio file being played back in Reaper.
2. After the recording, we loaded both multi-channel files onto a single DAW session, onto separate tracks. We synchronized the files manually using a clear transient sound (the classic "clap to sync").
Two 19-channel audio files on 2 DAW tracks.
3. We added ZYLIA Studio PRO plugin to the tracks containing the multi-channel files (one instance of the plugin for each). The plugin converts the recorded information into perfect sound spheres, from which you can extract sounds from any direction.
ZYLIA Studio PRO plugin interface before adding any virtual microphones.
4. We added virtual microphones, by clicking on the plus sign in the middle of the circle and defined their direction (in the horizontal and vertical planes) and polar patterns (width). Obs.: That means we basically set up a complex microphone arrangement after the recording, and one that can be tweaked or changed at any moment (!).
NOTE: If you don’t know yet how to work with virtual microphones and ZYLIA Studio PRO, you can check the following additional resources:
4A. From the main microphone recordings, 7 virtual microphones were used as seen in the following screen capture:
ZYLIA Studio PRO with 7 virtual microphones in place.
The virtual microphones Z1 – Z5 were narrow (shotgun-like) ones, pointing at each instrument and using S2 separation mode.
Z6 and Z7 form a wide stereo pair, pointing 45˚ up, to capture some of the overall sound and a great deal of reverberant sound.
4B. From the rear microphone recordings, 5 virtual microphones were used as seen in the following screen capture:
ZYLIA Studio PRO with 5 virtual microphones in place.
Detailed configuration of each virtual microphone:
Z1: 0˚ azimuth, 33˚ elevation, 60˚ width;
Z2 and Z5 form a stereo pair with a sum of 90˚ azimuth, pointing up (-45˚ elevation), and with 60˚ width;
Z3 and Z4 form a stereo pair with a sum of 80˚ azimuth, pointing down (-51˚ elevation), and with 60˚ width.
5. We directed each virtual microphone to individual tracks in our DAW and carried on with a regular basic mixing strategy (leveling, panning and EQing).
Section of DAW showing the tracks receiving signals from virtual microphones Z1-Z5 (Main ZM-1 microphone).
To sum up
by Pedro Firmino
In this article, we will give you an alternative way of recording and coloring your guitar tone using the ZYLIA ZM-1 microphone by taking advantage of multiple channel recording.
Please, remember that these are suggestions based on our own experience and might not be suitable for your specific situation. While trying our methods, make sure to listen and adapt to your instrument, environment, and musician.
When miking a guitar it’s important to understand that this instrument is not designed to be experienced at close distances making it more challenging to find a balanced positioning for recording, especially if you plan to use the ZM-1 to obtain several channels for posterior mixing. After all, it’s one of the ZM-1 strengths.
Here we will guide you to make the most out of the ZM-1 recording abilities.
Position the ZM-1 between the neck and the sound-hole.
At 25 cm distance, the results were quite flexible to work with, however, if you see clipping happening on the VU meter of ZYLIA Studio, reduce the gain on ZYLIA Control Panel or move the ZM-1 further from the sound source.
Record your take and take some time to listen to the results. If you’re happy with the tone of the guitar you may proceed to mixing stage, if not here are some options for you:
- increasing distance of the ZM-1 and the guitar for more room tone and less presence.
- positioning ZM-1 closer to neck, giving you more treble and percussive sounds.
- positioning the ZM-1 closer to the soundhole, provides more lower end and less treble.
- using another channel of the ZM-1 recordings to add brighter tone to the mix.
This last option shows one of the great advantages of recording with the ZM-1, which it will be mentioned next.
Separate the take and Mix your tone.
Using ZYLIA Studio or ZYLIA Studio PRO, you are able to get different tones from your instrument with a single recording due to the multiple channels. It can also be useful if you want to add some reflections from the environment.
After Separating the take, try using the Auto-mix feature. The tone resulting of this feature might surprise you, but if that’s not the case you are always able to mix the tone by controlling the different channel parameters in the MIXER window.
Are you looking for more low end in your tone? Simply adjust the level of the channel correspondent to the microphone closer to the sound-hole of the guitar (In this example Musician 2).
Or perhaps you want more room tone and a wider stereo image of your recording? Increase the levels of the back microphones and apply panning (Musician 4 and 5).