On 2 Apr 2012, at 17:57, Eero Aro <eero....@dlc.fi> wrote: > Because Nimbus Records devoted themselves strictly to one point > miking, they didn't record any operas, as the singers, choir and the > orchestra are scattered in a large area and you cannot get a good > balance with one point miking.
Sorry, that's bogus. When I go to the Opera, I sit at ONE SPOT. IF there's anything as a good seat in the opera house in question, where people in the audience can listen to a well balanced live performance, then that means there is a spot for single-point recording. Recording the sound field at that spot should be equivalent of recording the listening experience of a person sitting in that spot, and if the resulting recording is decoded binaurally and played back over head phones, the listener should hear what he would have heard sitting in that spot. Listeners in the opera house don't bounce back and forth between various seats during the performance to adjust which singer is singing where on stage. If the singer can't fill the room appropriately with his voice, then either the room acoustics, or the singer suck (or both), and in either case there's no need to make a recording of such an even anyway. So for real performances, single point micing, even though not a must, should be adequate or superior for all events that are recorded in a venue in which a live audience is supposed to have a good listening experience of an equivalent performance. If that's not possible, there's something wrong with the microphone, recording methodology, or both. The key benefit of ambisonic mixing is to synthesize events that didn't exist in a real acoustic space, but that are supposed to create a virtual reality. Ronald _______________________________________________ Sursound mailing list Sursound@music.vt.edu https://mail.music.vt.edu/mailman/listinfo/sursound
