Ambisonic microphones have provided a flexible and eloquent method to capture surround sound with a compact microphone array. However, tetrahedral microphones are typically applied to free-field capture applications paired with traditional mono or stereo spot microphones, where enhanced control over individual sound source balancing and timbre is required. This paper investigates the use of tetrahedral microphones as a versatile spot microphone technique that can render both direct sound and supporting room impressions for individual sound sources. These multiple perspectives can then be mixed together in a surround environment for great effect. Multiple recordings were made at NYU in the summer of 2021 to explore these techniques. A jazz quartet was recorded using three separate miking systems; an ambisonic-only system, an ambisonic and omnidirectional coincidental spot system, and a “traditional” jazz recording system. In this paper, the techniques we used will be explained and evaluated based on discrete ATMOS mixes with each system.
