I heard about this - but Id need to know more about the directivity of the microphones he used - because I think it would really hard to stop each mic picking up the entire "window" not just the tiny pool of sound around the head of the mic - so Im not convinced it would work - also its 2d. Would definately like to see any documentation on this though.
On 17 May 2013 19:27, Timothy Schmele <tim.schm...@barcelonamedia.org>wrote: > I think some artists have had success with this technique. > > If my memory serves me right, check if you can find anything from Erwin > Roebroeks, doing an installation where he built two identical grids of each > microphones and speakers, so that each speaker is in the exact same > position as the mics were when recording. An expert's first impression, > upon hearing about this technique might be a kind of coarse WFS with > terrible aliasing. But, the public stated he created a "sonic window" and > the effect as well as the reception of the installation was supposedly > great. Never listened to it myself though. > > Let's call it a rumor I still have in the back of my head. If Erwin is in > the surround group himself, he might read it and elaborate. > > > On 5/17/13 5:53 PM, Augustine Leudar wrote: > >> 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.**googleuserco**ntent.com/search?**<http://googleusercontent.com/search?**> >>> q=cache:http://articles.ircam.****fr/textes/Vos03a/<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/**<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<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> >>>> <http**s://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> >>> <http**s://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... 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