Studer can do that, without any new microphones. They record each channel in different anechoic chamber, then place sound sources and listeners on a touch screen, and simulate reverberation in the drawn hall, from drawn instruments, to the drawn listener, in the chosen place. They not only don't need any special microphones, they even don't need real time processing.
And what additional information would you require? The students seemed to understand it.
Typically, PA systems range from barely tolerable to totally atrocious. However, over the years I've heard about 2 or 3 which have knocked me over with their quality, far superior to virtually all high end setups I've heard, in their ability to deliver real dynamics with accurate tonality. And over a relatively "vast" area. Which demonstrates it is possible, and has been for a long time: the first effort that floored me I heard well over 20 years ago.
Frank
After the mics are made, then mic preamp(s) then into encode/decode board.... which could be done as before except with the latest and greatest Ic et al. Maybe into DSP. Who? several people depending on route taken... Scott W and JC and ?? Are you volunteering? Which part can you do?
-RNM
The whole forum is eager, is on the waiting list, to volunteer for a new recording revolution, so you will be able to sell your power amplifiers like hot dogs on a football game.
I strongly disagree with this -- my motto for a long, long time has been "There is no such thing as a bad recording" and it's helped me immensely over the years, ensuring that I always consider that the reason the sound is not musically engaging is because of faults in the reproduction side. This attitude has never failed me, has forced me to constantly refine and correct subtle flaws in the playback, so that in the end that "impossible" recording finally comes good ...
Frank
May be today, but before most pop/rock recordings sounded bad, classical and some jazz was OK.
Is it possible that's why they needed spicing up on tube amps and on amps with some harmonizing effects? They would sound flat on low distortion amps, but a good recording (hard to come by) would sound exeptional on a good amp.
Hearing big differences between different recordings didn't prevent me from constantly refining my stereo setup to the level that the music it reproduce is highly engaging.
The other day a person who visited me few times and heard my setup called me. He said that a friend of his was considering purchasing the same loudspeakers I have. Both of them visited the speakers dealer and both of them were disappointed with the result. He wanted to visit me with his friend, so that his friend would hear how those speakers can sound on a good setup.
It is a little bit different. "Classical and some jazz" don't need "spicing". They need wide dynamic range, and low distortions on soft passages, while rare forte - fortissimo can be distorted more, not a big deal, if the rest is well preserved. Especially when loudest are solo passages, they don't cause dirty intermodulation like ever loud rock music would do. Rock music does not have such dynamic range, so low distortions on the volume closer to maximum is more desired than low distortions on low volumes. It is not a big deal if the amp adds dynamic distortions, and if it adds high order distortions to decaying reverberation, because there is no decaying reverberation there.
I would beg to differ there ... some of my most rewarding recordings are "heavy duty" rock recordings because there is an immense level of detail captured on them, the degree of production fiddling often has meant they have thrown the kitchen sink at the album, adding little touches here and there to "enhance" the end result. On a normal system the result is that the sound is often cluttered and overbearing in the busy sections of the track, can be a bit of a torture test for the listener. But, once the replay system is up to the challenge then all that complexity is unravelled, the ear can discern the myriad subtle, and musical, things that have been injected into the sound, and it's a pure delight to hear the balance between all the effects, the choreography of the sound ...
Frank
The whole forum is eager, is on the waiting list, to volunteer for a new recording revolution, so you will be able to sell your power amplifiers like hot dogs on a football game.
All interested people in making a big advancement in audio have to start at the recording - front end. Take a read at Wiki - Ambisonics and choose which Ambisonics format is the best fit for today ---It could be a stepping stone to better and more complete/complex model, later. but it must be at low(er) cost than those hardware models of the past.
Thx, Richard
Sure, Chinese comrades do they cheaper. Yesterday I bought Behringer's class D amp with SMPS to try how can it compete with nice analog amp in the PA setup. 20 times cheaper than I spend on a functional prototype. 6 years ago I bought a pair of Chinese large diaphragm microphones, and replaced electronics inside of them. They sounded nice, in the whole PA setup that has very low audible distortions. Frequency response curve was very flat, directivity of line arrays was good, so people could perform on 3 feet distance from them. They liked the sound, and asked to sell them microphones. I explained them that it is not enough to get microphones only to get such quality of sound. They even called from other states. Once I finally sold that microphones to one women duet from Boston. And you know? No calls anymore. Even from Boston. Probably now they believe that indeed it is not enough to have such microphones connected directly to stock powered speakers in plastic boxes.
There is a lot of 'partial' information here. IF you want a cheap amp, go out and buy it. However, even though it might pass the ABX test, it will still not sound as good over time, as a better amp.
It is obvious that this business of DIY is a 'labor of love' and not for cost savings. For example, Parasound offers 4 power amp models, one priced under $1000, with my blessing. Then, without mentioning me directly, Parasound also makes power amplifiers, much like many here probably would use, for as low as $350 retail.
Even better, is the USED power amp market. The Parasound 1000, 1200,1500, 2200 power amps, now out of production, are normally available used at a modest price, AND they all contain 2 channels of comp-diff jfet input stages and multiple power transistor output stages. Even a broken unit has value, just for its 'hard to get' parts.
Now I know that you can go cheaper yet, but then you are in the world of mid-fi, not hi-fi, there is a difference, and it is not just in prestige, or something stupid like that.
It is obvious that this business of DIY is a 'labor of love' and not for cost savings. For example, Parasound offers 4 power amp models, one priced under $1000, with my blessing. Then, without mentioning me directly, Parasound also makes power amplifiers, much like many here probably would use, for as low as $350 retail.
Even better, is the USED power amp market. The Parasound 1000, 1200,1500, 2200 power amps, now out of production, are normally available used at a modest price, AND they all contain 2 channels of comp-diff jfet input stages and multiple power transistor output stages. Even a broken unit has value, just for its 'hard to get' parts.
Now I know that you can go cheaper yet, but then you are in the world of mid-fi, not hi-fi, there is a difference, and it is not just in prestige, or something stupid like that.
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