Oops, clicked the send button too soon - here's the rest of my comments
(continued from Varese quotation)
On 28 June 2013 23:07, Goran Finnberg <master...@telia.com> wrote:
>
> 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.
>
>
All I can say is you've been listening to some very poor acoustics, then.
In th late nineties I spent a few years really looking at the use of
spatial elements in music, it became clear to me the composers of all sorts
and ages had consciously or unconsciously been using them. Just sitting in
a concert and listening to the way sounds moved between sections of the
orchestra (ok, thats for DWMM, but the same is true of Japanese drumming
groups, Javanese Gamelan and 2000 year old Chinese bell ensembles) was
enough to convince me of that fact. The only (major) composer that could be
said for certain not to want to do that went so far as to design and build
a concert hall specifically to blur the orchestra in a single coherent blob
(Wagner). Mind you, I'm pretty certain he would have objected if you
couldn't tell where the singers' voices were coming from in the Bayreuth
Festspielhaus!
> And no one sitting listening to this washed out and unstable real life
> sterophonic image seems to think it is wrong at all.
>
>
No, I agree, 'wrong' is the wrong word - but, depending on the actual
circumstances, "badly designed" might be appropriate or, at best, "badly
chosen" :-)
> 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.
>
>
No doubt, but it is also, and much more importantly, those of us who's
preferred mode of recording is aimed at verisimilitude and my ears, at
least, tell me that coincident techniques are far closer to what I hear in
the concert hall, and Ambisonics better still, than spaced mics of whatever
ilk - always assuming you can get the mics in the best position in the
house.
Still, this is all a continuation of a "discussion" I have been having with
the beard Scotsman, Mike Williams, at AES conventions, over emails and in
person for the last three decades without every coming to a real agreement
- and we are still mates, much to my wife's surprise.
Dave
>
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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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