Dear Robert - what I am talking about has nothing to do with the multimicing of orchestras etc which are used to subsequently produce stereo recordings, 5.1 etc - and it has not been sold to the public by the music industry at all on account of the fact that to listen to it the public would need a lifesize replica of the space the sound installation was designed for (in this case a church and a bar ) , a multichannel soundcard they would be unlikely to know how to operate and about 20 very irregularly spaced speakers. However I dont see why it wouldnt work for musical instruments as well - as long as the speakers were placed in exactly the same place as the instruments were recorded in and the mics didnt pick up any other instrument apart from the one they are meant to record . I guess instead of the musicians in the orchestra you would have speakers sitting in their place - but you would still need an orchestral hall and the speakers would still need to be in exactly the same places the musicians were sitting - Im sure somebody must have tried this - again not something you can listen to in the living room.
On 17 May 2013 17:23, Robert Greene <gre...@math.ucla.edu> wrote: > > The reality may work in the context of locating things. > But the slogan description is scary because it is the road already > followed by the recording industry into disaster. > > Trying to capture what is produced by a musical instrument > rather than what is heard from a natural listening position has > been the basic philosophy of an endless succession of > really awful recordings. The curse of multimiking! > To mention only one problem, musical instruments > have a complex radiation pattern. They do not have an > "axis" on which one automatically captures the > whole, correct sound. Look at the radiation pattern > of a violin > http://webcache.**googleusercontent.com/search?** > q=cache:http://articles.ircam.**fr/textes/Vos03a/<http://webcache.googleusercontent.com/search?q=cache:http://articles.ircam.fr/textes/Vos03a/> > Just exactly how does anyone imagine that they could go > about capturing what is produced here? > > As a slogan, it works. And one can construct locationally correct items > this way. As a reality, one always gets > oddball stuff--even though the idea has been sold to the public > forever. > > The only hope for hearing something really like music-- > or like any reality--- is recording > the sound at a listening position--or using an enormous > number of channels to do wavefront reconstruction. > > Recording in the proximity of instruments is a doomed > process for natural sound--for location it will work > but for sounding like a musical instrument.... no chance. > > Robert > > > On Fri, 17 May 2013, Augustine Leudar wrote: > > Actually someone just wrote to me who does similar work and put it >> perfectly - "Dont capture what is heard but what is produced" - and your >> other question - yes it is a form of amplitude panning. >> -------------- next part -------------- >> An HTML attachment was scrubbed... >> URL: <https://mail.music.vt.edu/**mailman/private/sursound/** >> attachments/20130517/a31613f5/**attachment.html<https://mail.music.vt.edu/mailman/private/sursound/attachments/20130517/a31613f5/attachment.html> >> > >> >> ______________________________**_________________ >> Sursound mailing list >> Sursound@music.vt.edu >> https://mail.music.vt.edu/**mailman/listinfo/sursound<https://mail.music.vt.edu/mailman/listinfo/sursound> >> >> ______________________________**_________________ > Sursound mailing list > Sursound@music.vt.edu > https://mail.music.vt.edu/**mailman/listinfo/sursound<https://mail.music.vt.edu/mailman/listinfo/sursound> > -- 07580951119 augustine.leudar.com -------------- next part -------------- An HTML attachment was scrubbed... URL: <https://mail.music.vt.edu/mailman/private/sursound/attachments/20130517/5da51936/attachment.html> _______________________________________________ Sursound mailing list Sursound@music.vt.edu https://mail.music.vt.edu/mailman/listinfo/sursound
