All of this, of course, just goes to show how subjective recording is. In
my younger days I naively thought that we should be working towards exactly
re-creating a soundfield as a way of making the best possible recording.
But until such time the day comes that we can record and reproduce, in our
own living rooms, the position of every molecule of air over a significant
volume in real time _and_ make due allowance for the effect of the listener
and furniture that wasn't there in the original....
However, and unfortunately even with that accomplished, we would not
recreate (or create) the percept we would have gotten had we been at the
concert because we haven't walked/cycled/driven to the concert hall, nor
eaten the same food in the same restaurant beforehand, nor met the same
people, or... Anyway, at this point I can hear Peter Lennox laughing his
head off, because that was exactly what we used to argue about when he was
at York - and his side of the argument :-)
Dave
On 5 July 2013 22:16, Fons Adriaensen <f...@linuxaudio.org> wrote:
> On Fri, Jul 05, 2013 at 10:04:46PM +0100, Paul Hodges wrote:
> > --On 05 July 2013 20:54 +0000 Fons Adriaensen <f...@linuxaudio.org>
> wrote:
> >
> > >>1) two coincident hyper cardioids
> > >>
> > >My preferred one. Iff the mics are available. If not,
> > >see below.
> >
> > I commonly do that too (from the B-format, of course!),
>
> With very few exceptions, whenever I have to produce
> stereo from a B-format recording (with the mic placed
> to optimise the Ambisonic rendering), I end up with
> two virtual hypercardioids at 120 degrees or so.
>
> > but also
> > Blumlein, depending on the room. Crossed hyper-cardioids is similar
> > to MS with a front-facing cardioid, of course, as another
> > alternative if no hyper-cardioids are available.
> >
> > As for spaciousness, which is usually associated with spaced mics, I
> > suggest that out-of-phase components also contribute (which Bob
> > Katz's comments seem to my mind to support).
>
> They certainly do. You'd want more or less random phase
> for the diffuse part of the reverb.
>
> Ciao,
>
> --
> FA
>
> A world of exhaustive, reliable metadata would be an utopia.
> It's also a pipe-dream, founded on self-delusion, nerd hubris
> and hysterically inflated market opportunities. (Cory Doctorow)
>
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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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