On 28 June 2013 23:07, Goran Finnberg <master...@telia.com> wrote:
>
>
> He made it crystal clear that in his opinon when mixing spaced microphones
> in a reverberant space no phase effects or comb filtering of any sort could
> be heard even when listening in mono.
>
> The reason is simple, the mics are sufficiently spaced in a very
> reverberant
> room so the sound picked up by each mic are so different that no comb
> filtering or phase effects will occur ever.
>
>
Indeed, but only in a sufficiently reverberant space and with the mics
sufficiently far away that the D/R ratio for all sound sources is
sufficiently low. This may or may not reflect the effects from the "best
seat in the house"
>
> As do I after having pressed that mono button thousand of times on location
> sessions using spaced recording techniques..
>
> > Decca Trees sound nice on choirs because they do not have precise
> > stereo imaging and thus one cannot hear individual members of the
> > choir.
>
> When I hear musical forces in real life in reverberant spaces there is none
> of the highly directional effects heard from actual sound recordings.
>
>
Really? I mean "Really??!!!. One of the greatest pleasures I get from going
to a live concert is being able to hear and appreciate the directional
elements in a way that even an Ambisonic system can't fully capture. I am
very much in tune with Varese's comment about what got him started with
dealing with spatial effects in his compositions;
"Probably because the hall (Salle Pleyel, Paris) happened to be over
resonant...I became conscious of an entirely new effect produced by this
familiar music [Beethoven’s Seventh]. I seemed to feel the music detaching
itself and projecting itself in space. I became aware of a third dimension
in the music. ....it gives a sense of....a journey into space."
Edgar Varèse talking in 1936 about something he first explored in
Intégrales (1925)
> It´s all a blob of washed out sound in the middle with very little
> directional effects at all. A very spacious effect that is totally missing
> when I hear the same forces recorded via coincident mic techniques and no
> wonder as two cardioids in coincident X/Y excludes totally any difference
> in
> arrival time between the capsules while my ears are certainly NOT occupying
> the exact same spot instead they sit some distance apart and this gives my
> brain both amplitude AND timing information lost in the pure coicident
> recording systems.
>
> And no one sitting listening to this washed out and unstable real life
> sterophonic image seems to think it is wrong at all.
>
> It is only those hellbent on analyzing the sound coming out of a wooden box
> where they are all listening to different things to their liking telling
> all
> others they are wrong in their opinons.
>
> In that regard recordings are unreal to me personally and I prefer the less
> precise positional result from spaced techniques.
>
> BTW, Decca engineers have always insisted to have the nickel diaphragms on
> their M50 mics claiming that the later plastic diphragms sounded diffuse
> and
> inexact to them.
>
> Using two KM56 in A/B omni 60 cm spacing recording choir in a highly
> reverberant church has the diction perfectly clear on my beryllium equipped
> mid/top of my mobile monitor speakers.
>
> Going to soft dome plastic dome speakers the diction becomes unclear and
> muddled.
>
> So to me at least this is partly due to the choice of speakers and mics and
> not so much a question of spaced versus coincident techniques.
>
> The SM2 being two KM56 in one shell shows the same effect as do the KM88
> they all have 0.7 µM nickel diaphragms.
>
>
> --
> Best regards,
>
> Goran Finnberg
> The Mastering Room AB
> Goteborg
> Sweden
>
> E-mail: master...@telia.com
>
> Learn from the mistakes of others, you can never live long enough to
> make them all yourself. - John Luther
>
> (\__/)
> (='.'=)
> (")_(") Smurfen:RIP
>
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>
--
--
As of 1st October 2012, I have retired from the University.
These are my own views and may or may not be shared by the University
Dave Malham
Honorary Fellow, Department of Music
The University of York
York YO10 5DD
UK
'Ambisonics - Component Imaging for Audio'
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