3D recordings seem to be an attractive solution when trying to achieve the immersion effect. Recently,
Dolby Atmos is an increasingly popular format for distributing three-dimensional music recordings. Although
currently the main format for producing music recordings is still stereophony. How to optimally extend traditional
microphone techniques when recording classical music to obtain both stereo recordings and three-dimensional
formats (e.g. Dolby Atmos) in the post-production process? The author is trying to answer this question using the
example of a recording of Dietrich Buxtehude`s work "Membra Jesu Nostri", BuxWV 75. The cycle of seven
cantatas composed in 1680 is one of the most important and most popular compositions of the early Baroque era.
The author will present his concept of a set of microphones for 3D recordings with detailed setup. Finally, the
results of listening tests based on a comparison of the stereo version with two different immersive mixes will be
presented.
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