The Joseph Grado Holographic Scalera Scanner
How to Use It

THE JOSEPH GRADO HSS HOLOGRAPHIC SCALERA SCANNER CONSISTS OF TWO IDENTICAL SCANNER MICROPHONES. BOTH MUST BE, ( AND ARE ) MATCHED IN EVERY WAY, ESPECIALLY IN THE AREA OF SONIC QUALITY.

THE JOSEPH GRADO HOLOGRAPHIC SCALERA SCANNER IS VERY EASY TO USE AND REQUIRES VIRTUALLY NO ATTENTION ONCE IT IS PROPERLY SET UP;

THE ONLY DIFFICULTY INVOLVED IN USING THE HSS SYSTEM IS TRYING TO FORGET WHAT YOU WOULD NORMALLY DO TO RECORD WITH CONVENTIONAL MICROPHONES. WITH CONVENTIONAL MICROPHONES YOU POINT THE MIKES AT THE SOURCE OF THE SOUND. GENERALLY FOR A SIMPLE RECORDING IT’S A PAIR OF OMNI MIKES ABOUT SIX FEET APART WITH A THIRD MIKE FOR AMBIENCE.

A COMPLEX RECORDING COULD EASILY USE MORE THAN ONE HUNDRED MIKES OF ALL SHAPES AND SIZES, ALL YIELDING DIFFERENT COLORATIONS, PICKUP PATTERNS AND APPLICATION PROBLEMS. BUT NOT TO WORRY YOU CAN ALWAYS DEPEND ON THE OLD FAITHFUL PROCESSOR TO DIG YOU OUT OF THE HOLE.

THIS IS NOT SO WITH THE JOE GRADO HOLOGRAPHIC SCALERA SCANNER. SINCE IT HEARS EXACTLY AS YOU DO, SETUP IS A BREEZE.

WHILE THE PERFORMERS ARE SOUNDING OFF DURING THEIR REHEARSAL FOR THE RECORDING EQUIPMENT SETUP, SIMPLY WALK AROUND THE ROOM AND LISTEN. WHEN YOU FIND THE SPOT IN THE ROOM THAT HAS THE BEST SOUND, SET THE HSS SCANNERS ( WHICH ARE AT THIS TIME ON THEIR INDIVIDUAL STANDS) DOWN ABOUT SEVEN FEET APART AND ABOUT SIXTY INCHES HIGH, WITH THE SCANNERS POINTING STRAIGHT UP. REMEMBER THE SCANNERS RECORD 90 DEGREES OFF AXIS.

AT THIS POINT I WILL REMIND YOU TO THINK PROPERLY. TO RECORD WITH AN Holographic Scalera Scanner YOU MUST RECORD THE TOTAL AIR MOVEMENT INTHE ROOM. THE HSS SCANNER SYSTEM WILL DO THIS, CONVENTIONAL MIKES ONLY RECORD LOCALISED SOUND.

THE CONVENTIONAL MICROPHONES RECORD ONLY WHAT THEY CAN HEAR. UNFORTUNATELY CONVENTIONAL MICROPHONES ARE VERY DIRECTIONAL AND RECORD VERY LITTLE OF THE ROOM AMBIENCE. LET US FOR THE MOMENT EXAMINE HOW THIS OCCURS AND WHY. THE TWO MOST USED CONVENTIONAL MIKE SETUPS ARE AS FOLLOWS.

1 - LEFT AND RIGHT TRACK INFORMATION MIKES AND EITHER A SMALL DIAPHRAGM MIKE OR A SPHERE MIKE FOR AMBIENCE PICKUP

2 – A CLOSE UP MIKE FOR EACH INSTRUMENT TO BE RECORDED AND AN ADDITIONAL SINGLE OR MULTIPLE MIKES FOR AMBIENCE.

BOTH METHODS ARE TOTALLY INADEQUATE FOR A HUNDRED DIFFERENT REASONS AND I COULD WRITE A BOOK ON THOSE REASONS. HOWEVER, SINCE I DON’T HAVE THE TIME TO WRITE A BOOK I WILL SIMPLY GIVE YOU A BASIC REASON FOR EACH METHOD THAT WILL SHOW YOU THE FUTILITY OF IT ALL.

METHOD #1.THE LEFT AND RIGHT INFORMATION MIKES RECORD THE DIRECT SOUND OF THE PERFORMER AND SWAMPS OUT THE ROOM REFLECTED SOUND. THE TOTAL AMBIENT SOUND PICKED UP BY THE AMBIENCE MIKE IS A PATHETIC IMITATION OF THE REAL THING. AND OH YES, WE CAN ALWAYS GO BACK TO THE POST PROCESSING, IT WILL FIX EVERYTHING.OR WILL IT ?

METHOD #2 PICTURE AN ORCHESTRA OF ONE HUNDRED  INSTRUMENTS. EACH ONE IS BEING RECORDED BY ITS OWN MIKE. EACH MIKE GOES INTO ITS OWN TRACK ON A ONE HUNDRED TRACK MIXER. THE ROOM AMBIENCE IS DRASTICALLY SWAMPED OUT BECAUSE EACH OF THE MIKES ARE PLACED TO RECORD ONLY THE ONE INSTRUMENT. WHAT YOU ARE LEFT WITH ARE ONE HUNDRED MONO RECORDINGS OF ONE HUNDRED INSTRUMENTS WITH NO ROOM AMBIENCE AT ALL. NOW WE ADD THE AMBIENCE MIKES WHICH SORT OF BLENDS THE ONE HUNDRED MONO SPOTS. BUT IF THEY DON’T WE CAN ALWAYS GO BACKTO THE POST PROCESSING, IT WILL FIX EVERYTHING.

WHEN YOU GO INTO A ROOM, LARGE, MEDIUM OR SMALL AND THIS ROOM SEEMS TO BE DEAD SILENT, IT REALLY ISN’T DEAD SILENT, THERE IS ACTUALLY A FULL SOUND LEVEL ENERGY PERMEATING THE TOTAL ROOM.

IF THIS IS SO THEN WHY CAN’T I HEAR IT ?

YOU CAN’T HEAR IT BECAUSE IT IS TOO LOW IN FREQUENCYTO BE HEARD BY A HUMAN BEING, BUT DON’T BE FOOLED, THE ROOM IS TOTALLY PRESSURIZED WITH VERY HIGH DENSITY SUB SONIC ENERGY.

WHEN YOU ARE IN A “SILENT ROOM” AND  AN AUDIBLE SOUND IS PRODUCED, YOU IMMEDIATELY TURN TO THE DIRECTION OF THAT SOUND. HOW DID YOU KNOW WHAT DIRECTION TO TURN TO ? THE ANSWER IS VERY SIMPLE. YOUR  EARS ARE A PAIR OF SUPERB ULTRA SONIC, EXTREMELY HIGH DENSITY SCANNERS AND CAN EASILY RESOLVE THE EFFECTS OF A FOUR BILLION BIT DENSITY.

ONE MUST REMEMBER THAT WHEN AN AUDIBLE SOUND IS INTRODUCED INTO “SILENCE” It CONTAINS MUCH MORE THAN THE SINGLE LOCALIZED AUDIBLE SOUND.

THE SEQUENCE OF A NATURAL SOUND IS AS FOLLOWS:  #1 “SILENCE”,   #2 AN AUDIBLE LOCALIZED SOUND,  #3 THE ADDITION TO THE AUDIBLE LOCALIZED SOUND OF ALL OF THE AUDIBLE REFLECTED SOUNDS THAT ARE GENERATED INTO THE ROOM (EVERY POSSIBLE COMBINATION OF DECAY, DELAY, ROOM COLOR VARIATIONS, AND ALL THE DIRECTIONAL INFORMATION ) FOR THE TOTAL OF THESE ARE WHAT CREATE THE HOLOGRAPHIC SOUND.

YOUR EARS WILL BE CAPABLE OF HEARING ALL OF THESE THINGS IF YOU LEARN TO LISTEN PROPERLY.

WHEN YOU WALK AROUND IN THE ROOM AND LISTEN YOU WILL FIND A SPOT WHERE THE SOUND BLOOMS AND EVERYTHING IS EXTRA BEAUTIFUL AND YES THIS IS WHERE YOU WOULD DESIRE TO SIT WHEN LISTENING TO A LIVE PERFORMANCE. THIS IS WHERE YOU WILL SET UP THE HSS HOLOGRAPHIC SCANNING SYSTEM

AS I SAID BEFORE, THE HOLOGRAPHIC SCALERA SCANNER HEARS EXACTLY AS DOES THE HUMAN BEING, BUT WITH A MUCH GREATER ABILITY TO PERCIEVE ULTRA SONIC FREQUENCIES AND HIGH DENSITY INFORMATION.

IF YOUR HSS SYSTEM HAS BEEN SETUP IN THE SPOT THAT YOU SELECTED DURING THE REHEARSAL AND ARE SIX TO EIGHT FEET APART, SIXTY INCHES HIGH AND POINTING STRAIGHT UP YOU WILL BE IN A VERY GOOD STARTING POSITION.

 WITH THE ROOM “SILENT” TO YOUR EARS, THE MOMENT YOU POWER UP THE HSS SYSTEM IT INSTANTLY STARTS SCANNING THE TOTAL ENVIRONMENT OF “SILENCE” AT THE RATE OF AN EXTREMELY LINEAR FOUR BILLION BIT PLUS DENSITY, AN ACCEPTANCE ANGLE OF 360X360 DEGREES REGARDLESS OF THE DISTANCE FROM THE HSS SCANNER SYSTEM AND AT A RESOLUTION OF THIRTY FIVE THOUSANDTH OF A DEGREE AT ANY ANGLE SINGLE OR MULTIPLE.

WHEN THE “SILENT” SOUND BECOMES AUDIBLE IT IS AN INDICATION THAT THE INAUDIBLE LOW FREQUENCY ENERGY IS NOW WORKING WITH THE AUDIBLE ENERGY TO CREATE THE FULL HOLOGRAPHIC SOUND. THE PRECISION WITH WHICH THIS IS ACHIEVED IS ABSOLUTELY UNCANNY.

THE SIXTY INCH HEIGHT OF THE VERTICALLY PLACED HSS SCANNER IS DETERMINED BY AN AVERAGE PERSONS EAR HEIGHT ABOVE THE FLOOR. THE FLOOR REFLECTION DISTANCE VERSUS THE CEILING REFLECTION DISTANCE TO THE EAR IS IMPORTANT FOR ESTABLISHING THE FINAL POSITIONING OF THE HSS SCANNERS.THIS IS BECAUSE THE HUMAN BEING LIVES HIS OR HER LIFE HEARING SOUND REFLECTIONS COMING FROM THE FLOOR FIRST AND IT HAS BECOME THEIR SUB CONSCIOUS REFERENCE.

THE HSS SCANNERS CAN BE AS MUCH AS TWENTY FEET APART WITHOUT ANY PROBLEMS OF PHASE SHIFT OR LOSS OF SIGNAL BTWEEN THE HSS SCANNERS.

THE HSS SCANNERS MAY BE USED AS LOW AS TWO FEET OFF THE FLOOR OR AS HIGH AS TWENTY FEET HIGH OFF THE FLOOR THE PERFORMERS ARE WORKING ON.

WHEN YOU HAVE DETERMINED THE FINAL POSITION OF THE HSS SCANNERS SIMPLY SET YOUR RECORDER FOR THE DESIRED PEAK LEVELS THEN SIT BACK AND RELAX AND THE SCANNERS WILL DO THE REST OF THE RECORDING WITH NO FURTHER ASSISTANCE.

REMEMBER, LISTEN TO THE SPATIAL SOUND IN THE TOTAL ROOM, FIND THE BEST SOUNDING SPOT, SET THE SCANNERS DOWN AT SIXTY INCHES HIGH AND SIX FEET APART AS A STARTING POINT. THEN LISTEN TO THE SOUND AND READJUST THE 60” AND 6 FT TO  THE BEST COMBINATION. THEN SET YOUR PEAK LEVELS AND RELAX, THAT’S ALL THERE IS TO IT.

THE PHOTOGRAPHS ON THE NEXT TWO PAGES SHOW ADDITIONAL FEATURES OF THE JOE GRADO HOLOGRAPHIC SCALERA SCANNER.

ACOUSTICAL FULL HOLOGRAPHIC LOW FREQUENCY ATTENUATOR

FIG 1  SHOWS A SINGLE SCANNER. THE ADJUSTMENTS I AM ABOUT TO DESCRIBE MUST BE MADE TO BOTH SCANNERS. THEY MAY BE ADJUSTED DIFFERENTLY TO ACCOMMODATE FOR ROOM VARIATIONS.

FIG1   THE MIKE STAND IS MOUNTED TO BLOCK A. LOCK BLOCK A IN POSITION ON THE SCANNER SHAFT BY TIGHTENING KNOB B. WITH THE BLOCK IN THIS POSITION ON THE SCANNER SHAFT THE FREQUENCY RESPONSE IS FLAT.

FIG 2   LOOSEN KNOB B AND SLIDE THE BLOCK A HALF WAY UP THE SHAFT,TIGHTEN KNOB B. THE LFA AT THIS POINT IS APPROXIMATELY MINUS THREE DECIBLES.AT 50 HZ

FIG 3   LOOSEN KNOB B AND SLIDE THE BLOCK A ALL THE WAY TO THE TOP OF THE SHAFT, TIGHTEN KNOB B. THE LFA AT THIS POINT IS APPROXIMATELY MINUS THREE DECIBLES AT 100 HZ.

THE ADJUSTMENT EFFECT IS CONTINUOUSLY VARIABLE. ADJUST IT TO YOUR TASTE.

SCANNER SUSPENSION

FIG 4   THE SCANNER SUSPENSION IS PRETTY MUCH SELF EXPLANATORY.
PLUG THE SIGNAL CABLE INTO THE BOTTOM OF THE 48V PH BOX, LOOP IT THROUGH THE FIXED HOOK ON THE REAR OF THE MOUNTING BLOCK, THEN CONTINUE THE CABLE TO ITS FINAL TERMINATION POINT. NOTE THAT THE SCANNER HAS ASSUMED A DOWNWARD FACING ANGLE, THIS IS VERY IMPORTANT. BE AWARE THAT THE SCANNER RECORDS AT NINETY DEGREES OFF AXIS TO THE SCANNER CAPSULE. NOT INTO THE CAPSULE. THIS IS WHY THE SCANNER SHAFT POINTS STRAIGHT UP WHEN PLACING THE SCANNER SYSTEM ON MOUNTED TO THEIR STANDS ON A FLOOR !!!!

ACCESSORY DIFFUSER FIG 5 AND 6
FOR ENHANCEMENT AND SOUND EXPANSION.

ADJUSTABLE FROM FLAT FREQUENCY RESPONSE WITH A BARE MINIMUM OF DIFFUSION, TO A NOTICEABLE DIFFUSION WITH A GENTLE SOFTENING OF THE HARMONIC STRUCTURE OF THE SOUND. THESE ADJUSTMENTS ARE CAPABLE OF EFFECTIVELY ENLARGING THE SPATIAL EFFEFCT IN THE SOUND AND ARE FULLY CONTROLLABLE WITH A SOUND PREVIEW AT ALL TIMES.

TO USE, SIMPLY LOOSEN THE LOCK KNOB AND SLIDE THE SPHERE UP AND DOWN THE SCANNER SHAFT. AND LOCK IT IN THE DESIRED POSITION BY TIGHTENING THE LOCK KNOB. THIS ADJUSTMENT CONTROLS THE FULL HOLOGRAPHIC SOUND PICTURE. IT MAY ALSO BE USED IN CONJUNCTION WITH THE LFA ADJUSTMENT TO THE -55 HZ POSITION.

ONE OF THE MAIN PROBLEMS THAT OCCURS IN ALL RECORDING IS A SITUATION THAT WE HAVE HAD NO CONTROL OVER IN THE PAST. IT IS THE PROBLEM OF GETTING INTO A SITUATION WHERE THE ROOM YOU HAVE DO A GOOD RECORDING JOB IN IS INDEED LESS THAN DESIREABLE TO ACHIEVE A GOOD RECORDING.

I’VE BEEN IN ROOMS THAT WERE DEAD, ROOMS THAT WERE TOO REFLCTIVE,ROOMS WITH SHEET ROCK WALLS ON 24 INCH STUD CENTERS SO THAT THE WALLS DRUMMED AT THE STANDING WAVE FREQUENCIES AND ALL THE OTHER VARIATIONS  EACH ONE HAVING IT’S OWN INDIVIDUAL SET OF PROBLEMS. WHAT TO DO, WHAT TO DO ?

IN THE FIVE YEARS THAT I EXPERIMENTED WITH SPHERE  MIKES OF ALL SHAPES AND SIZES I WAS ABLE TO UNCOVER SOME VERY INTERESTING INFORMATION.

A BAD ROOM COULD HAVE A DECAY AND A STANDING WAVE CLASHING OR IT COULD BE DELAYS THAT ARE ERRATIC TO THE DECAY TIME OR IT COULD BE GENERALLY SO
BAD THAT YOU SIMPLY SWAMP THE ACOUSTICS AND PROCESS TO CREATE YOUR OWN ROOM ACOUSTICS.

AFTER THINKING LONG AND STRONG I DESIGNED THE ENHANCING AND DIFFUSION SPHERE WHICH HAS THE UNCANNY ABILITY TO MAKE A SMALL LIVING ROOM  SOUND LIKE A LOVELY RECITAL HALL OR TAKE A SMALL CHORAL GROUP AND MAKE IT SOUND LIKE A LARGER GROUP WITH A WONDERFUL ANGELIC EFFECT AND YES IT CAN MAKE A BAD ROOM SOUND MORE THAN PRESENTABLE AND IN SOME CASES MAKE IT A ROOM THAT YOU CAN LOOK FORWARD TO RECORD IN.

THE ENHANCEMENT/DIFFUSER IS NOT AN EXPENSIVE ACCESSORY BUT IT IS WORTH ALL THE MONEY IN THE WORLD WHEN YOU NEED IT.

Figure 1 Figure 2
Figure 3 Figure 4
Figure 5 Figure 6
Mic setup

 

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