Core Sound OctoMic™ 2nd-order Ambisonic Microphone
Core Sound is pleased to offer its groundbreaking OctoMic.
OctoMic is the world's first 2nd-order ambisonic microphone.
OctoMic is the ideal microphone for recording Virtual Reality (VR) projects, including cinema, video games, music and ambience. In post-production, OctoMic allows users to define arbitrarily complex microphone configurations, and to dynamically track sound sources in space. During playback, it allows for dynamic head-tracking and an unlimited number of playback speaker configurations.
Pair it with a suitable eight-track digital audio recorder, and it's ready to record. We recommend pairing OctoMic with the Sound Devices MixPre-10T or the Zoom F8.
OctoMic offers significant improvements over 1st-order ambisonic microphones. The improvements are particularly attractive for cinema, gaming, music and ambience, for three important reasons:
It is far better at preserving the perceptual cues necessary for a listener to precisely locate sound sources.
It provides a much larger "sweet spot" for listeners. While first-order ambisonic microphones have a "sweet spot" around the size of a human head, OctoMic's "sweet spot" can accommodate multiple listeners without degrading a recording's sound location perceptual cues.
OctoMic can be used 50% farther away from the sound source while maintaining the same directivity index.
Like TetraMic, OctoMic's frequency response is exceedingly flat and extended. Its bass response extends below 30 Hz, and its treble response above 18.5 kHz. Its dynamic range extends from the very quiet of a fine recording studio to the roar of a jet engine at close range. TetraMic's self-noise specification is excellent, but OctoMic improves on it by 3 dB.
Like TetraMic, each OctoMic is individually aligned using a exceedingly effective measurement and calibration procedure. It is delivered with its own unique calibration file. This ensures that all OctoMics are perfectly matched to deliver excellent results. This unique feature allows OctoMic to retain its fine performance over time because it can be recalibrated as it ages. This critical feature is absent in other ambisonic microphones. (We recommend recalibrating OctoMic every two or three years, depending on your application.)
OctoMic's size is another valuable feature. Only slightly larger than the tiny TetraMic, OctoMic is much smaller than any other ambisonic microphone. This is a significant tech advantage because it is much easier to hide during VR360 shooting, and reduces the need to edit out the microphone image in post-production.
OctoMic comes with a VST or AAX plug-in to perform A- to B-format conversion. The plugin outputs standard 9-channel 2nd-order B-format. The output has been tested and confirmed to work with the most popular DAWs and the Facebook 360 Spatial Workstation. The plug-in operates on Windows and Mac PCs. Linux is also supported.
Once in B-format, the recording can be decoded to any number and type of coincident microphones, each oriented in any desired direction and having any desired pickup pattern. OctoMic can function as the world's finest Blumlein array, and when used as an omni microphone, is equal to the world's best, including the DPA 4003 used for calibration.
In addition to modelling any number and type of spatially coincident microphones, OctoMic can model spaced microphone arrays (e.g., ORTF, Decca Tree, Double MS, ORTF-3D, ORTF Surround, Hamasaki Square, Fukada Tree, INA, PCMA-3D) by using more than one OctoMic. Please compare OctoMic's cost and performance excellence to other spaced array solutions.
OctoMic can also act as shotgun microphone that's aimed in post-production!
By using a head motion tracker in your editing suite, OctoMic's recordings can dynamically track a listener's head motions, and present the correct spatial location cues for all sound sources. The apparent orientation can be rotated, tilted, tumbled or zoomed at will.
The nine channels of B-format can also be interpreted into almost any playback format, including:
mono (without "sum to mono" phase cancellation issues)
stereo
binaural, fixed-head or headtracked, using individualized or generic HRTF information
four speakers arranged as a square or rectangle
six speakers arranged as a regular or irregular hexagon
5.1 (ITU)
7.1
10.1
Dolby Atmos
any of the above plus height information (e.g., two hexagonal arrays of speakers, one above the listener and one below)
and many, many more.
Summing up, OctoMic allows your audio projects to have unparalleled flexibility in post-production.
How good a microphone is OctoMic? We believe OctoMic has the flattest and most extended fig-8 response of any commercially available microphone, bar none (including TetraMic); so it's among the best Blumlein arrays in the world. Its free-field omni response is not quite as good as a Bruel & Kjaer 4133 1/2-inch measurement microphone; it's only as good as the wonderful DPA 4003 that we use for calibration -- i.e., sensational! However its diffuse-field response is better than the 4003. This combination of capabilities makes OctoMic one of the world's finest microphones.
Until now, you couldn't buy a 2nd-order ambisonic microphones at any price. Most much less capable 1st-order ambisonic microphones are priced between $2000 and over $20,000. OctoMic is priced under $2000, including its processing software and all hardware, including cables.
OctoMic is more than eight microphone capsules on a precision machined mount. Building an OctoMic starts with a large batch of carefully assembled microphone capsules, pre-selected for sensitivity and frequency response. Each capsule is then exhaustively tested for sensitivity, frequency response, directivity pattern and other parameters. We select eight well-matched capsules and confirm their compatibility. Then another round of exhaustive testing begins, this time for the complete eight capsule assembly. All in all, each OctoMic undergoes more than seven hours of assembly, testing and calibration. Each OctoMic exits the test phase with its own calibration and correction files, used with its A-to-B-format VST encoder plug-in to ensure that each OctoMic is a fine example of one of the best sounding microphones in the world.
ORTF using two OctoMics
Specifications*
Microphone Type: 2nd-order (2h1v) ambisonic for VR, surround, stereo, mono
Raw capsule information:
Number: eight
Medium-sized diaphragm: 12 mm diameter
Pattern: cardioid
Type: electret condenser
OctoMic pattern: variable, multiple simultaneously, selected at decode
Capsule ordering and channel assigment: OctoMic's "front" is indicated by the "Core" logo. Looking at the logo, the top/front capsule is #1. and the capsule to the lower right is #2. Above and to the right of capsule #2 is capsule #3.
Top ring of capsules: #1, #3, #5 and #7
Bottom ring of capsules: #2, #4, #6 and #8
Capsules tested, selected and matched into sets, with calibration data supplied for OctoMic A-to-B-format encoder plugin
Frequency response:
Raw: 40 Hz - 18.5 KHz +/- 4 dB
Calibrated: 30 Hz - 18.5 KHz +/- 2 dB
Self noise (complete array): 15 dBA
Phase: non-inverting
Maximum SPL per capsule: 135 dB
Sensitivity per capsule: 7.0 mV/Pa nominal (-43 dB ref: 1V/Pa)
PPAc8 output impedance: 85 Ohms
PPAc8 signal run distance: greater than 500 feet
Output connector:
compatible with Neutrik MRF12 (mates with Neutrik MSCM12)
breaks out to eight XLR-M plugs via PPAc8 system
Power:
48 Volt Phantom Power (with PPAc8 Phantom Power Adapter)
approximately 16 mA @ 48 VDC total (2.0 mA per capsule)
Shaft diameter: .70 inch (17.7 mm)
Overall length: 5 inches (12.7 cm)
Weight: 5.3 ounces (150 grams)
Re-calibration interval: 3 years (general usage), 2 years (precision acoustic measurements)
* Using OctoMic with 48V phantom power adapters other than those provided by Core Sound will void all performance specifications.
Polar Directivity Patterns
All patterns measured on an OctoMic randomly selected from our production line
OctoMic Usage
Getting a Copy Your OctoMic's Calibration File and the VST/AAX Encoder Plugin
When you've received your OctoMic, please contact us with its serial number. We'll send you the calibration file for your specific OctoMic and a coupon code for downloading the VVOctoEncode VST/AAX encoder plugin.
Once you have your coupon code, you can download VVOctoEncode here.
Which side of OctoMic is the front and which capsule is channel #1?
OctoMic's front side is indicated by the "Core" logo.
If you hold OctoMic upright so that the Core logo is facing you, capsule number one is the one directly facing you, in the top capsule ring. If you look down and to the right, you'll see capsule number two, in the lower capsule ring. Capsule numbering alternates between the top and bottom capsule rings, and proceeds toward the right. The odd capsules are all in the top ring. The even capsules are all in the bottom ring.
Cabling
OctoMic's base houses a 12-pin jack. The twelve pins carry eight unbalanced microphone signals, power and ground.
Cabling for the PPAc8 System
The compact PPAc8 transmitter box converts the OctoMic's unbalanced audio signals to balanced ones. It allows a maximum separation between OctoMic and your recorder/soundcard of more than 500 feet. It is very immune to picking up electromagnetic noise and hum.
The PPAc cable connects OctoMic to the PPAc8 transmitter. One side of the PPAc cable is marked GND. That side should plugged into the PPAc8 transmitter. The other side is connected to OctoMic.
Two rugged shielded Ethercon cables connect between the PPAc8 Transmitter, and the two PPAc8 receivers. Each PPAc8 receiver has four short cables coming out of it; each terminates in a color-coded XLR-M plug. Plug a total of eight XLR-M plugs (four from each PPAc8 receiver) into your recorder/soundcard.
OctoMic is normally powered by your recorder's or mic pre-amp's 48 Volt Phantom Power via the PPAc8 System. Provide 48 Volt phantom power on all eight channels.
Power
OctoMic is powered by standard 48 Volt Phantom Power. Apply 48 Volt phantom power on all eight channels.
Recording with the OctoMic
Typical Recording Set-ups
OctoMic has an unusually extended low frequency response. If we wanted to go a bit overboard, we could calibrate it to be flat to well below 20 Hz and you could use it as an earthquake detector! But we reasonably limit its response so that it's usable down to around 25 Hz.
As with any high quality microphone that works well down to those very low frequencies, you must use a shock mount unless you really want to pick up footsteps, trucks rumbling by, distant thunder and subway trains. So please always use an effective shock mount. (See the OctoMic Accessories page for recommendations.)
OctoMic's output is a 12-pin jack. A 12-pin PPAc8 cable connects it to the PPAc8 transmitter. Since OctoMic's signal is unbalanced at that point and somewhat susceptible to picking up strong electrical interference, we recommend keeping that PPAc8 cable length as short as possible and routing it away from high power sources of interference.
The PPAc8 transmitter connects to two shielded EtherCon cables, each of which carries four channels. The EtherCon cables can run for more than 500 feet without degrading the audio signal.
The two EtherCon cables connect to two PPAc8 receivers. Each receiver has four XLR plug outputs, for a total of eight.
OctoMic's PPAc8 system can feed the signal to either an eight-channel recorder that has its own mic pre-amps, or an eight-channel microphone pre-amplifier/ADC (analog-to-digital converter) that feeds an eight-channel digital audio recorder. The recorder can be either a computer or a stand-alone digital audio recorder.
Using OctoMic with Portable Digital Audio Recorders
Zoom's F8 and F8n eight-channel portable digital audio recorder are probably the most cost-effective and simplest ways to record with OctoMic. The combination makes very high quality 2nd-order ambisonic recordings. You can buy a Zoom F8 or F8n in the US for $1000 or less.
An alternative to the Zoom F8n is the Sound Devices MixPre-10 II.
Other possible alternatives are the Sound Devices 788T, Roland R-88 and the SonoSax SX-R4+/SX-AD8+ combination.
Connect OctoMic to the recorders using OctoMic's PPAc8 system. The PPAc8's two receivers terminate in eight XLR connectors. Plug them directly into the recorders' eight XLR inputs.
Both the Zoom F8n and the Sound Devices MixPre-10 II have very accurate, digitally-set level controls so it's very easy to match the levels across OctoMic's eight channels. Both recorders can gang the eight channels' level controls, so you can control the levels with one knob. Both recorders are recommended!
Microphone Pre-amplifiers and ADCs
To preserve OctoMic's calibrated performance, all eight OctoMic channels should be gain-matched to within 0.1 dB. Please use mic pre-amps and A-to-D converters that are designed to hold those gain tolerances across eight channels.
DAWs for Editing OctoMic Recordings
OctoMic's raw eight-channel audio output are in what's called "A-format". When you transfer them into your digital audio workstation for editing, convert them to standard 9-channel 2nd-order B-format with the supplied VVOctoEncoder VST encoder plugin.
The following DAWs can be used for editing 2nd-order B-format:
Reaper
Pro Tools HD
Cubase (pending)
Nuendo (pending)
Pyramix (v11.1 and higher)
Ardour
Digital Performer
Plogue Bidule
AudioMulch
FLStudio (with proper mixer and plugin I/O configuration)
If your PC runs Linux, you can use Fons Adriaenson's OctoProc software.
OctoMic's 9-channel B-format has been confirmed to work well with the Facebook 360 Spatial Workstation.
VVOctoEncode VST/AAX Encoder and Plugin Options
VVOctoEncode is the A-to-B-Format encoder VST/AAX plugin supplied with OctoMic. It was developed and is supported by David McGriffy (VVAudio.com).
Once you have your coupon code from us, you can download VVOctoEncode here.
VVOctoEncode allows you to select among three options during encoding.
The first option has the least processing noise and provides excellent spatial location cues.
The second option adds a slight amount of processing noise but has slightly stronger spatial location cues.
The third option adds a bit more processing noise but has even slightly stronger spatial location cues.
We advise that when encoding very quiet sound sources, that Option 1 be the default selection. When the sound sources are louder, we advise considering using Options 2 or 3.
Octofile A- to B-format Encoder for Linux
We have great news for OctoMic users who work in Linux environments!
Fons Adriaensen has released the source code for Octofile version 0.3.0.
Octofile is an A- to B-format encoder for Octomic.
Using OctoMic As A Blumlein Array
OctoMic is the world's finest Blumlein array. See the X and Y B-format channel polar patterns to confirm this.
To use OctoMic as a Blumlein array:
Place the OctoMic where you judge the sound is good.
Record.
Encode the A-format recording to B-format with VVOctoEncode (the encoder plug-in supplied with OctoMic).
Channels 2 and 4 of the 9-channel B-format output are channels X and Y. They are the two orthogonal (crossed) figure-8 microphones. Use Channel 2 as right, and channel 4 as left.
If during recording you had the OctoMic facing forward, rotate the array 45 degrees with any reliable rotation plugin. (We use SSA's a3Rotate plugin.)
Record the new stereo track
You're finished!
If you use a block and wire application like Plogue Bidule for your plug-ins, here's what the layout looks like:
It takes second-order B-format as input, and both plays and records Blumlein.
Using OctoMics In Spaced Arrays
Some recording engineers prefer recording with spaced arrays of microphones to coincident arrays. Recordings made with spaced arrays offer a sense of spaciousness due their spatially decorrelated ambiences.
The simplest spaced array is probably the ORTF array. Two first-order cardioid microphones are spaced 17cm apart and aimed at +/- 55 degrees (110 degrees between them).
Two OctoMics make a superlative ORTF array. That's because their decoded first-order cardioid directivity patterns are almost perfect up to around 10 kHz. (See OctoMic's polar directivity patterns here.)
And since the first-order cardioid mic decodes used in this ORTF array are decoded in post-production, the aiming of the two cardioids can be easily fine-tuned back in the studio.
This same approach can be taken with larger and more complex spaced arrays, including ESMA, ESMA-3D, ORTF Surround and ORTF-3D, Hamasaki Square and Cube, Decca Tree and many others. They all benefit from OctoMic's very precise and stable first-order decodes.
There's another benefit to using OctoMics in spaced arrays: lower cost. For example, in an ORTF-3D array, there are two first-order supercardioid microphones at each corner of the array. If you were using mono mics, you'd need two physical microphones at each corner, for a total of eight mono microphones. In contrast, you can populate that array with only four OctoMics. Each OctoMic gets decoded to two virtual microphones.
For a nice surprise, compare the cost of the eight high-end mono microphones in an ORTF-3D array to the cost of four OctoMics!
ORTF Array With Two OctoMics
ORTF-3D Array With Four OctoMics
Here's how we did the ORTF decode using Plogue Bidule
We recorded A-format (raw capsule audio from the two OctoMics) to a sixteen track recorder. Tracks 1 through 8 were from the left OctoMic. Tracks 9 through 16 were from the right OctoMic. Each OctoMic's A-format were encoded to B-format using one VVOctoEncode plugin (supplied with each OctoMic) using its own specific calibration files. The B-format outputs went to two instances of SPARTA Beamformer. Both were set to decode to first-order cardioid. The left Beamformer was rotated to -55 degrees, and the right to +55 degrees. The outputs of the two Beamformers went to a gain control and then to a player and file recorder.
OctoMic Accessories
Microphone Stand Mount -- Shock and Fixed
In most situations, OctoMic should be used with a shock mount. We recommend Rycote's INV-7 with the standard 72 Shore 19/25 lyres (black, part number 042210).
The INV-7 mounts to any standard 5/8"-27 threaded microphone stand or fixture.
The INV-7 can be ordered from any Rycote dealer.
Rycote's INV-7
Rycote's INV-7
A fixed stand mount (non-shock mounted) is also available.
Wind Screens
Wind screens are available to reduce wind noise when recording outdoors with OctoMic.
The two-part foam wind screen fits over and under OctoMic's capsule head. It should be used in light wind conditions without significant gusts/blasts.
The two-part foam wind screen fits over and under OctoMic's capsule head. It should be used in light wind conditions without significant gusts/blasts.
The windscreen with a combination furry outer layer and foam inner layer should be used in medium wind conditions without gusts/blasts. (The furry/foam wind screen includes the foam wind screen -- there's no need to order both.)
Furry/Foam Windscreen Usage:
Push the bottom foam collar up onto the OctoMic shaft as far up as it will go, seated lightly against the bottoms of the four lower capsules. Fit the top foam over the top of the OctoMic and push it down as far as it will go. Then fit the furry sleeve over it.
Another alternative for a very compact and effective windscreen is Rycote's 20mm Baby Ball Gag (BBG). It only needs a simple and low-cost neoprene O-ring added to OctoMic's 17mm shaft to better seal it. It's available from Rycote dealers.
An even more effective (and considerably more expensive) windscreen system is available: the small Rycote Cyclone. You would purchase it from a Rycote dealer. Please contact us or Rycote for details.
(The Rycote Cyclone requires a very small modification to accommodate OctoMic's cable. Please contact us for the details.)
(Photo credit: John Leonard)
Case
OctoMic comes in a rugged and attractive Pelican case. OctoMic sits securely in protective custom-cut dense foam. Replacement cases are available.
OctoMic News
March 16, 2020: We've added a section on Using OctoMics In Spaced Arrays to the "Recording With OctoMic" web page.
November 13, 2019: David McGriffy (vvaudio.com) has released a very low-latency beta version of VVOctoEncode.
It allows live streaming of immersive 360VR videos using OctoMic for recording audio. The audio can be streamed real-time in either B-format or decoded to playback formats (e.g., stereo, binaural, 5.1, 7.1, Ambeo), with very low latency.
Streaming in B-format allows for headtracking during playback, and a wide range of playback speaker array configurations.
July 2, 2019: We've updated our OctoMic User Comments page.
February 8, 2019: Want to hear what recordings made with OctoMic sound like?
We've updated the OctoMic recording download page. For each recording, it now includes B-format (second-order), binaural and stereo versions.
January 24, 2019: We've been posting OctoMic recordings that you can download here. A wonderful new one was added today.
July 29, 2018: Great news for OctoMic users who work in Linux environments!
Fons Adriaensen has released the source code for Octofile version 0.3.0.
Octofile is an A- to B-format encoder for Octomic.
June 11, 2018: Phillip Westbrook has been recording a choir with an OctoMic. Here's a link to a 2nd-order B-format file of the choir, accompanied by an orchestra, singing "America The Beautiful" in a mid-sized church.
We think that it's a wonderful recording!
Click here to download it.
June 10, 2018: Here's a link to an OctoMic recording of a relaxed women's chorus rehearsal, recorded in-the-round. OctoMic was positioned near the center of a circle of 14 women singers.
The file is 2nd-order B-format.
Click here to download it.
March 19, 2018: Core Sound is pleased to release OctoMic for sale. OctoMic is the world's first 2nd-order ambisonic microphone. It far surpasses any 1st-order microphone in preserving location cues. Compared to 1st-order microphones, its listening "sweet spot" is huge!
Ambisonic Recording Links
Bruce Wiggins' Direct Show and VST plugins for Ambisonic playback using Windows Media Player
Richard Elen's Ambisonic Network
HARPEX-B - Svein Berge's Ambisonic B-format player (for 1st-order only)
Daniel Courville's Ambisonic Studio -- Guides for using Ambisonic surround sound technology in audio production and post-production
"The Amibsonic Tool Kit" - Tools for the artist and composer from Joseph Anderson
Hugh Robjohn's fine article about Ambisonics in Sound On Sound magazine (October 2001)
Richard Furse's 3D Audio Links and Information page
has lots of information about Ambisonic recording and playback
Joseph Lloyd Anderson's informative "What is Ambisonics?" page
OctoMic Ordering
February 24th, 2021: We are currently shipping OctoMics roughly two weeks from receiving an order. If you have an urgent need, we can often accommodate - please call!
You can find current pricing on the OctoMic ordering page.
OctoMic is sold with everything you'll need to get started, other than a recorder.
You may want to add two shielded rugged/flexible Ethercon cable in the length you need.
We are pleased to accept orders on-line or via phone, email, or postal mail.
Payment
Payment is via any major credit card (Visa, Mastercard or American Express), a PayPal account, personal checks, money order (available from the Post Office or bank), traveler's checks, wired funds, cash or certified check, US funds only. Please allow some additional time for personal checks to clear the bank prior to shipment. COD shipments are available in some situations -- contact us for details. You may wire funds directly to our bank account -- please contact us for details.
PayPal handles our credit card processing. You need not have a PayPal account to pay with a credit card.
We also accept purchase orders from pre-qualified US universities, corporations, and state and federal governments.
Checks should be made out to "Core Sound LLC" and sent to:
Core Sound LLC
405 Cedar Lane, #1
Teaneck, NJ 07666
USA
Orders are typically shipped within two or three days but delivery times vary with our order load. We can usually accommodate "rush" orders, including same day shipments -- call and ask!
If you have questions, please contact us.
Customs Taxes
If you are ordering from outside the United States or Canada, your government may (or may not) charge you import taxes. Those taxes are your responsibility. If you are not certain, please ask your local Customs authority for more information.
VAT and Sales Taxes:
Core Sound LLC collects only State of New Jersey sales tax. We do not collect UK/Europe VAT taxes or any other taxes
OctoMic Trial Offer
To give you a chance to try it and decide if it's for you, Core Sound provides a 30 day trial period. All OctoMics returned within 30 days of shipment qualify for a full refund (minus shipping and handling charges) provided that they are returned in as-new condition.
OctoMic Limited Warranty
OctoMic is sold with a one year limited parts and labor warranty. If an OctoMic requires repair during that period, ship it back to Core Sound postage-paid with a description of the problem, and then please call us once we have received it to discuss the problem. We will repair or replace it, and ship it back to you at no charge. No consequential damages are covered by this warranty.
Using OctoMic with power supplies other than those provided by Core Sound for use with OctoMic will void this warranty and all performance specifications.
OctoMic Customer Reviews
Mirek Stiles, Head of Audio Products at Abbey Road Studios in the UK, writes:
“I was blown away by the clarity and sense of spatial resolution. When I was informed of the street price, my thoughts were this is going to be a game changer. I recently experimented with composer Stephen Barton and the LSO in Studio One with the OctoMic placed just above the conductor's head. Once encoded into the ambisonic format, the orchestra spread beautifully over everything from binaural headphones right through to the Abbey Road Dolby Premier accredited ATMOS Mix Stage.”
“This is an awesome piece of hardware for any spatial audio engineer to have in their arsenal!”
Later he wrote:
"The Octa [OctoMic] microphone gives an outrageously precise sense of location, the spatial accuracy of that microphone is quite stunning."
And on Instagram he wrote:
“Really good over headphones but also converted to 7.1.2 via Blue Ripple plugins and played back in the ATMOS mix stage - stunning!”
John Leonard, the respected sound designer in London (U.K.), wrote:
“Probably the best 1st Order Ambisonic mic that I've owned and now a superb 2nd Order Mic. Excellent customer service and brilliant products.”
Dan Scott, Emmy award-winning audio engineer and sound designer, tells us that OctoMic is excellent for environmental location recordings:
"Thought you'd like to know we got REALLY great results doing location recordings for a short 360-degree documentary about Canada that will be playing in [a very well-known Florida tourist venue] for years to come.”
“We did a few locations around Vancouver Island and had the Octo at the center of a 30ft ring of 8020s and then I took the Octo on its own to Niagara Falls and captured the most detailed recordings I've ever heard of that area. I grew up there so I'm really familiar with the constant roar and also the gurgling water detail you get from standing at the crest, but most existing recordings just came across as white noise. These ones captured the whole spectrum amazingly well and worked really great when decoded on the mix stage. I was even able to capture a few perspective movements up the rapids that worked great for aerial flyover shots without needing to be panned and filtered.”
“Also, wind rejection using the 20mm Rycote BBG was great. I added an additional o-ring at the opening just to seal the gap even further. It makes for a super compact travel setup.”
“Thanks again!"
Bruce Wiggins (University of Derby) wrote:
“Just had a quick listen to this with our MSc students (in our 32 speaker listening room). The 2nd order mic is a marked improvement compared to the tetra mic. Sounded really good (especially noticeable in the coughing/talking moments, but more natural sounding and better localisation quality throughout!) Great job, well done!”
Rob Anderson wrote:
[We offered Rob an OctoMic to record Stile Antico's "Music Before 1800" concert on February 9, 2020 in NYC.]
“This sounds fantastic!”
“For the singing, the sound quality is excellent, and the imaging is very precise.”
“... this sounds worlds better than the Soundfield 450.”
“Thanks again for sharing these - it's quite phenomenal.”
Later he wrote:
“The imaging is super-sharp. I know coincident arrays have the calling card of sharp imaging, but, to use a video analogy, if my usual coincident arrays could be compared to a 1080p HD image, I'd classify these as UltraHD 4K or better.”
“And feel free to quote me on that.”
Ben Adams (VR Sound Design at Hathor Sound) recently ran a workshop on "Audio for VR" in Los Angeles. He wrote:
“Several people at my workshop noted that the OctoMic was the best sounding tonally and with directionality.”
P.W. wrote:
“I have been using an Octomic under VR rigs for several weeks now and it is the smallest and easiest to hide Ambisonics mic I have seen! It also sounds amazing!”
A few months later he wrote:
“Loving the Octomic. Extremely detailed and great for VR production!”
H.C. wrote:
“I can say that it indeed makes first order obsolete. I own an OctoMic, and have used first order mics before, and the spatial accuracy you get with the OctoMic is much better.”
A few months later he wrote:
“...by the way, I've been really excited about the amazing spatial definition of the OctoMic in VR projects!”
“I've been testing it with an Oculus Quest and for the first time I have an experience that is truly spatially realistic... goosebumps causing”
“...listening to some recordings I did by a ravine I had several of those moments where simulated reality suddenly becomes equal to lived reality and I'm quite picky with acoustic spatial fidelity”
B.M., formerly of a national radio network, wrote:
“Let me say that I am pleased with the results I have been able to attain using the Octomic and [the VVOctoEncode] software. In terms of resolution, it is definitely a step up from FOA of the Ambeo mic. I also appreciate its portability and that it works well with my Sound Devices 788T.”
W.G. wrote:
“We did some comparisons between the octomic, the ambeo, super MS and a dpa 5.1 array. The octomic came out on top for spatial accuracy. ...The added height of ambisonics is definitely a game changer compared to super MS and the 5.1 array.”
T.M. in Australia wrote:
“By the way I wanted to thank you for your ongoing support...”
“I finally got to test the Octomic yesterday and was extremely happy with the results. It is a very good sounding mic.”
Later he wrote:
“I can't get over how good the Octomic sounds for regular stereo applications using the O3A-Stereo Decoder.”
And even later he wrote:
“My Octomic is significantly better than my Ambeo. Not even comparable.”
J.S. wrote:
“Attached for your enjoyment is an excerpt from Sunday night's OctoMic recording of our Nine Lessons and Carols Christmas service at my church. ...”
“It's a joy for me to hear the choir in such detail, with only one microphone stand to set up.”
E.T. in Seattle wrote on Facebook:
[She compared OctoMic to two first-order ambisonic microphones, recording a trio.]
“After comparing the recordings from all 3 mics on our sound system at DXARTS - Center for Digital Art and Experimental Media, I, a die-hard fan of the Soundfield microphones had to admit that the OctoMic won. Figuring out production workflows is a different story but... very impressed with the OctoMic so far!”
OctoMic Recordings
The Société des arts technologiques (SAT) in Montreal used Core Sound’s OctoMics to record the Orchestre symphonique de Montréal playing Dvořák’s Symphony No. 9 "From the New World", conducted by Mélanie Léonard.
Here’s a link to a short clip of a recording made with one OctoMic positioned above and slightly behind the conductor. The OctoMic recording was decoded to a virtual Blumlein array (two crossed figure-8 microphones, rotated 45 degrees).
You can see SAT’s video of this clip here: Video
Rob Anderson (Rob Anderson On-Location Recording Services) accepted Core Sound's offer of an OctoMic second-order ambisonic microphone to record Stile Antico's performance at Music Before 1800 in NYC.
We decoded the OctoMic recording to Blumlein, binaural and to three coincident second-order hypercardioids pointed at -45, 0 and +45. (The OctoMic recording could also be decoded to full immersive surround sound (including height), headtracked binaural, and many others.)
Photo credit - Stile Antico performance at Music Before 1800: The NY Times
For the Three Hypercardioids decode, the center microphone was mixed at -3 dB.
Here are download links for some of the decoded recordings:
And finally, for comparison, here's the same performance, but made with Rob's ORTF array of two high-end mono mics:
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Thanks go to Rob Anderson for the opportunity to make these OctoMic recordings.
We thank Stile Antico and Music Before 1800 for their permission to post these clips.
Stile Antico: https://www.stileantico.co.uk
Music Before 1800: https://mb1800.org
The Angelica Women's Chamber Choir (angelicavoices.org) recently performed in concert at the Church of St. John Nepomucene in NYC. A single Core Sound OctoMic second-order ambisonic microphone was used to record them.
The room is large, with a six second reverb period - direct sound dissipates very quickly. That usually makes recording a demanding effort. It's much simpler to get a good recording with OctoMic, because of its very tightly directional patterns, with almost no backlobes.
The choir was arranged in a semi-circle with the OctoMic at the center. A theorbo was also positioned in the center, but deeper into the semi-circle. And two recorders were played from the right side.
Below are links to recordings of "Gaudete gaudio magno". You can download files that have been decoded to stereo (two virtual microphones - second-order), stereo (three virtual microphones - second-order), Blumlein (first-order), and binaural (second-order). Or you can download the second-order B-format file and decode it yourself.
And here's Lumen by Abbie Burt Betinis (b. 1980). For the moment it's only available in B-Format (second-order) and stereo downloads:
(The files are 48 kHz/24 bit. Posted with the kind permission of Marie Caruso, Artistic Director, Angelica Women's Chamber Choir.)
Grammy-nominated and Emmy Award-winning audio engineer Dan Dzula recorded Khorikos with a Core Sound OctoMic, at The Shrine Church of St. Anthony of Padua church in lower Manhattan (NYC).
Khorikos is a 23-voice choir, with Alec Galambos conducting. They performed a mix of early music and brand new compositions from four international composers.
The concert opened with this selection:
IV: Choral (from Trauermusik)Paul Hindemith: composerAlec Galambos: arrangerLeonard Fu: soloist, violin
We're pleased to provide download links to recordings in second-order B-format, binaural and stereo. (Posted with permission of Khorikos, all rights reserved)
And here's another track from that concert, again in second-order B-format, binaural and stereo. (Posted with permission of Kala Pierson and Khorikos, all rights reserved)
Joyful No - Kala Pierson: composer
Vid Sontest records ambiences in VR360. He recently recorded a bicycle bridge in Belgium, using his OctoMic for the audio. You can hear the resonance of the metal bridge, bicycles, walkers, trains, birds, frogs and the river.
Here's a link to the video with second-order audio on Facebook: Bicycle Bridge Ambience (Second-order)
Here's a link to the video with first-order audio on YouTube: Bicycle Bridge Ambience (First-order)
Listen on headphones and use your mouse (or rotate your device) to change your perspective.
(YouTube unfortunately hosts only first-order ambisonic soundtracks.)
If you're interested in immersive ambience recordings, follow Vid Sontest on Facebook and subscribe to "Listen to 360" on YouTube.
Alan Paul is the noted biographer of The Allman Brothers Band in his book "One Way Out: The Inside History of the Allman Brothers Band". He also leads Friends of the Brothers.
Friends of the Brothers is the finest Allman Brothers tribute band; every key member is closely associated with the original band.
Last Wednesday they played a two-and-a-half hour set at The Loft at City Winery in NYC.
Here's Midnight Rider from that performance.
You can listen in stereo, binaural, or to second-order B-format ambisonic files.
Phillip Westbrook has been recording a choir with an OctoMic. Here's a link to a 2nd-order ambiX B-format file of the choir, accompanied by an orchestra, singing "America The Beautiful" in a mid-sized church.
We think that it's a wonderful recording!
Phillip also created a wonderful 360VR 8k video of a gondola ride in Venice using OctoMic:
Click here to view the Facebook video.
(The Facebook video has 2nd-order ambisonic audio.)
Click here to view the YouTube video.
(YouTube currently accommodates only first-order ambisonic audio.)
You can download the second-order video file here.
You can download the second-order audio-only file (B-format, ambiX) here.
Here's an OctoMic recording of a relaxed women's chorus rehearsal, recorded in-the-round. OctoMic was positioned near the center of a circle of 14 women singers.
(Thanks to Angelica Women Chamber Singers and Marie Caruso (Artistic Director).)
Annie Masciandaro is the drummer/vocalist with the Woodstock tribute band Back to the Garden 1969 in the NY/NJ/CT area.
Here's Annie and the band doing Jefferson Airplane's Somebody To Love.