I believe the first effort to work around this with loudspeaker design called was the BBC dip. In sweden the stereo error compensation in speaker design is a well known factor, at least the readers of the forum www.faktiskt.as :-) and I believe not many of the better loudspeakers in the world are designed with the target of a linear frequency responce in a anechoic space today.
Bot still a lot of loudspeakers are designed to have specific characteristic and not to be way to recreate the sound that was recorded. Bo-Erik On 30 Mar 2016 21:13, "David Pickett" <d...@fugato.com> wrote: > > At 20:44 30-03-16, Eric Benjamin wrote: > > >I have two observations from my own research. The first is that the > >ear signals resulting from equal signals at the loudspeakers is not > >the same as for a real source located between the loudspeakers. The > >second is that, if I measure the ear signals for a real listener for > >the equal loudspeaker signal case, the two ears are different. Why? > >Because the summation of the signals at the ears is so sensitive that > >a condition of balance is never achieved. The loudspeakers don't have > >the same sensitivity, they are not precisely the same distance from > >the ears, and the listener's head itself isn't precisely symmetrical, > >isn't located precisely on the centerline, and isn't pointed precisely > >directly ahead. > > What kind of signal were you using when you made these observations, please? > > David -------------- next part -------------- An HTML attachment was scrubbed... URL: <https://mail.music.vt.edu/mailman/private/sursound/attachments/20160330/d39a5913/attachment.html> _______________________________________________ Sursound mailing list Sursound@music.vt.edu https://mail.music.vt.edu/mailman/listinfo/sursound - unsubscribe here, edit account or options, view archives and so on.
