On 3 July 2013 07:37, David Pickett <d...@fugato.com> wrote:
> At 06:31 3/7/2013, Robert Greene wrote:
>
> Variations from reality ought surely to be based on knowing
>> how to reproduce the reality first and then introducing the
>> variations. One does not bend pitches for artistic effect
>> until one is able to play in tune, so to speak.
>>
>
> Yes, indeed; but such question begging exposes the problem per analogiam.
> What does one define as "in tune"? What you are asking for is the ability
> to reproduce a complete soundfield with 100% accuracy, and then to
> introduce variations. We have not yet progressed to this level.
>
>
And I doubt if we will ever even begin to be able to do this. Ambisonics
theoretically can get it exactly right at just one point (and does get
close-ish) but it is still relatively far off when you factor in the
effects of the microphones timbrally (because of the individual characters
of the capsules), in terms of the disturbance of the sound field in the
original space by the presence of the microphone and because of the
non-coicidence of the capsules. Then, of course, theres the limitations of
the loudspeakers and the playback space acoustics.
If you want to assess, in a controlled manner, what is the "best" recording
technique, this would be a huge experiment since it would surely be
different for every type of music - and every different ethnic group,
multiplied by their different life experiences - stay-at-home, traveller,
immigrant (multiplied by their generation), refugee, etc., differentiated
by their experience of music, both short (did they go to a nice concert
last night?) and long term (do they go to concerts/gigs/discos regularly?).
This doesn't even begin to include things like the fact that the current
generation of students find it difficult to hear (some of the) obvious
defects in recorded sounds that us antiques find glaringly obvious because
they have grown up listening to mp3's and have had to learn how to tune out
the rubbish generated by the encoding/decoding algorithms.
But, assuming someone manages to get a sufficiently, stupendously,
ginormously huge grant and actually want to take this on, here are some
suggestions;
Under no circumstances use artificial test signals like pink noise for the
main work - use these only for later, detailed work if absolutely
necessary. Record real sounds anechoically and replay them from the best
possible loudspeakers, one per sound source** on stage in an appropriate
venue (concert hall for DWMM, outside in a square for Gamelan, in a pokey
little club for jazz and so on) which, importantly, will also have to have
an excellent replay room attached to it.
In turn, set up the differing record/replay set ups, recording the same
piece of music each time. Have your experimental subjects listen to the
"live" replay in the venue and the recording of it in the replay room. Now
repeat the experiment with the same venues, music and equipment but
different replay rooms n order to remove the effects of the replay room
acoustics and other perceptual effects like comfort and lighting. Repeat
until you can't stand it any more then analyse listener preferences. After
five years and several million euros you might have some answers.
Dave.
PS I am available for consultancy if one of you gets the grant, at
appropriate rates, of course :-)
** I am aware this isn't perfect as ideally it should be the case that the
speakers also reproduce the directional effects of the instruments but it
is, at least (a) reproducible and (b) not a totally artificial signal.
--
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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