This is to my mind one of the basic problems of home audio--
the floor reflection, to have it or not.
Some speakers do, most do in fact.
But some do not, e.g. large line sources or
large vertical planar radiators.
This means that in effect one has two
quite different kinds of sound generated
by speakers, depending on which type of speaker
you use. (To be more precise, the floor reflection
of the line sources become integral with the
direct sound. It is still there but it
extends the line source "viirtually" through
the floor --and through the ceilling if it
is a true floor to ceilling speaker. And of course
in higher frequencies the vertical directivity is so
large that the floor reflection is almost nonexistent
anyway).
Stereo is really an odd thing--that it works so
well in listening terms is a tribute to the
eaqr/brain's power of interpretation since in
actuality what arrives at the listening position
is rather strange in literal terms.
Robert
On Tue, 3 Apr 2012, J?rn Nettingsmeier wrote:
On 04/02/2012 06:33 PM, Ronald C.F. Antony wrote:
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.
<snip>
If that's not possible, there's something wrong with the microphone,
recording methodology, or both.
a) putting a microphone into the audience is pretty much impossible for live
situations, unless you are more interested in the respiratory functions of
your seat neighbors than in the music. flying a soundfield high above makes
for a nice horizontal blend of the music, but gives irritating height
information.
b) the listening room acoustics need to be factored into the equation. which
is why the usual approach is to get the microphones way high, and to record
in really large rooms - you are shifting the early reflections into a range
where they are not perceived as coloration, but as echoes. a "best seat in
the audience" kind of recording has its own set of coloring early reflections
already, and it is very sensitive to listening room influence. (i guess the
reason is our brain can sort out one set of ERs as "natural" and work around
the coloration, but not two sets.)
--
J?rn Nettingsmeier
Lortzingstr. 11, 45128 Essen, Tel. +49 177 7937487
Meister f?r Veranstaltungstechnik (B?hne/Studio)
Tonmeister VDT
http://stackingdwarves.net
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