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Old 15th March 2008, 07:02 PM   #1
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Wink The rendition room acoustic doesn't matter...

.... if the listener situated in near field of the loudspeakers. Two chances for that:

First way, buckle on your loudspeakers nearby your eardrums.

Another way: Take a hudge loudspeaker. If your spouse says no, hiding it behind the picture screen and let work it like an acoustic curtain: Each single speaker must work by principle. By that become possible to get parallel wave fronts. Its level doesnt decrease by distance, in fife meters you hear the same volume as directly by the speakers, without to buckle the box.

And moreover such speaker field is able to synthesize a soundfield, hardly distinguishable from the genuine event. How that works is described on my website: by easily understandable animations, I hope. Yet a little bit complicatet it remain still.

Kind regards from Germany Helmut
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Old 16th March 2008, 10:46 PM   #2
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Join Date: Oct 2007
Location: Santa Cruz, California
It seems this technology requires a new recording format as each instrument has to be recorded independently so that it can generate an independent source.

Is this so? or is there a way to process stereo material to extract the position information of each instrument?
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Old 17th March 2008, 08:35 AM   #3
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Hi Ian,

Yes, it’s so. You need separate chanals for each dry recorded source and additional data regarding the reflection behavior of the recording room, stored in impulse response. Appropriated standard is MPEG 4.
In case of the master tapes are available, new mixdown is possible. But the procedure also is compatible for the common surround standards. For those it minimized the influence of the rendition room acoustic because of the listener situated in near field of the hudge speaker and enlarges the sweet spot, because the virtual sources for the speakers may positioned outside the real rendition room. Also for ambisonics the speaker screen would be would very suitable solution without boxes everywhere in the rendition room.

Regards Helmut
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