Actually air soaking up highs is not a very significant
effect on direct arrivals except at large distances.
The fact--and it is a fact--that the sound in a concert
hall is so low in high frequency content compared
to close up sound arises primarily from the "also"
part in the message below.
Quantitative details are provided here
www.regonaudio.com/Records%20and%20Reality.html
and here
www.regonaudio.com/Why%20Recorded%20Music%20Sounds%20Too%20Aggressive.html
This is of course why recordings sound so much
different from concerts to the point that musicians are
rather more seldom interested in "audio" than one would expect.
The effect on the reverberant field--which is most of what
you hear in concerts--is enormous. There is essentially nothing above
8kHz in the reverberant field in a concert hall--not only have the walls
absorbed the highs but the air has, and the paths in air are long enough
to do this to a great extent(but the direct path is not long enough to
kill the highs all that much--it is the long paths involved in the reverb
that kill the top end, no matter what the walls are made of)
Robert
On Fri, 3 May 2013, Augustine Leudar wrote:
Youre only interested in ambisonics right ? Because generally the further
away something is the less high frequencies it has due to air absorbtion of
sound frequencies with shorter wavelengths. Also the reverberation to
soundsource ratio will be higher than for more distant objects. These are
psycoacoustic effects though so excuse me if my answer is not relevant.
On 3 May 2013 12:00, Iain Mott <m...@reverberant.com> wrote:
Hi list, I wonder if someone could clear up some doubts I have:
Does an ambisonic impulse response recorded in a space, with microphone
and impulse source at specific locations, reproduce any distance cues
when convolved with an anechoic mono source and decoded ambisonically
over a speaker array, or just angular cues?
I know that HRTF filters are recorded anecoically, so distance of the
impulse wouldn't matter, as i understand it. But what if impulses were
recorded at various angles and a particular distance in a live room? How
would one set of angular responses at a given distance compare with
another set made with the same angles but at a different distance?
Thanks,
Iain
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