As a Sound Engineer and the Architect of STS-Digital, Fritz de With always looks for 5 keypoints and disciplines in
The warm sound, that acoustic instruments possess on their own, but is often not captured by sound-technicians.
We attach a great deal of value to the warm sound and try to get this through carbon-fiber and quality microphones,
plus an AD-convertor.
The acoustic placing and recognition of the musicians in the recording space, feasible with the STS-3 and the STS-6
recording system. For us, the horizontal and vertical resolution in a recording are very important.
The phase purity of a recording, both the electric phase (good cable/fibre connections etc), and the acoustic phase
must be acquired through proper placing of the microphones. This can be checked by a set of headphones, and of course
a phase meter.
The symmetry in the recording; this means always placing the microphones in such a way that on both the left and
the right side there's an equal division of signal, and not placing mono support microphones on the extreme left and
right. These will disturb the symmetrical sound and will give sound-peaks that do not coincide with the total
acoustics of the space.
Transparency and clarity in a recording. This does not mean an overly sharp recording, but one of softness in
tone and clarity, in which especially the 3-dimensional recording-space is being displayed.