Unveiled at the 1997 AES Convention in New York, the Fukada Tree brought a new technique to surround sound recording of orchestral music for broadcast or CD release.
Behind the seven-microphone arrangement – basically an ’original’ sized Decca Tree array but with five cardioid microphones and two additional omnidirectional microphones as outriggers to blend the front and rear channels – is renowned recording engineer and lecturer, Akira Fukada, who hoped to resolve some of the problems engineers had encountered when trying to record spatial environments with traditional omnidirectional microphones. The Fukada Tree clarified microphone positioning and also incorporated directional microphones for main and environmental sounds.
In recent months Fukada has used The Tree to record a number of prestigious projects, including capturing Shostakovich’s Symphony No. 5 with the Saito Kinen Orchestra directed by Seiji Ozawa – central to the set-up is his choice of DPA microphones.
‘I like the transparent feel they deliver,’ he explains. ‘When recording piano, for example, they give me the clear attack sound and the beauty of reverberation when the sound attenuates. Their wide dynamic range and rich bass vigorously catches the expression of an orchestra, while for string ensembles recorded in a studio, they capture the rich overtones and give a better feeling of air.’
Fukada originally developed The Tree while working for state broadcaster NHK, but since 2011 he has been CEO of his own company, Dream Windows Inc, consulting on a wide range of music recording, special sound design and audio issues.
Since its unveiling, Akira Fukada has made a number of positioning modifications to improve the system’s front localisation, but his choice of microphones remains constant. From the outset, he specified DPA microphones supplied by local distributor, Hibino, with whom Fukada has subsequently presented a number of seminars and workshops explaining the Fukada Tree.
‘The LL/RR microphones on both sides are intended to pick up the orchestrated sound expanse and a smooth sound envelope covering the front and rear sections of the hall. However, I don’t use LL/RR microphones for small music ensembles. My arrangement incorporates DPA 4011A directional microphones and DPA 4006A omnidirectional microphones from the Reference Standard Microphone Series. The configuration of the tree can vary depending on the hall’s acoustic characteristics, while the intervals at which the microphones are placed can also change to conform to the size and formation of the orchestra.’
‘Following the upgrade and release of our Reference Standard Microphones, and given Mr Fukada’s requirement for the best audio equipment, I’m very pleased to see that he relies upon our 4006A, 4011A and 4015A mics for his recording sessions under Dream Windows Inc,’ says Ken Kimura, DPA Microphones Asia Pacific Regional Sales Director.
‘I also use DPA microphones for projects that don’t require the Tree,’ Fukada adds. ‘Recently I used a DPA 4006 on a Decca Tree stereo configuration to pick up string ambience in a studio setting. I also use a DPA 4015 wide cardioid ORTF for piano, and if I am recording acoustic guitar I like to use a DPA cardioid 4011 XY. For me, DPA microphones are indispensable because they suit any musical instrument and provide all the accuracy that I need.’
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