I agree with most of what you say completely.
Less so with the microphone stuff. The microphone stuff is more the exception than the rule.
Most often we listen to studio recorded control room mixed recordings where there is no such thing as center stage until we hear the vocalist in the center of the phantom channel in our listening room.
Most recently old studio recorded Rolling Stones.
Thanks DT
The example I posted was about stereo microphone technology, but my argument holds for any microphone technology, your remarks about that prove my point.
We don't know what we're listening to.
Audio Musings by Sean Olive: Audio's Circle of Confusion
So how to step outside the circle of confusion?
One way is to use speakers that are preferred in blind listening tests both at the consumer and the music production stage.
We don't know what we're listening to.
Audio Musings by Sean Olive: Audio's Circle of Confusion
So how to step outside the circle of confusion?
One way is to use speakers that are preferred in blind listening tests both at the consumer and the music production stage.
Circle of confusion is a term stolen from photography. Audio uses it backwards.
If you look at my posts I am all about harmon’s standard listening rooms. I am all about Directivity Index. I am all about the science and technology of testing speakers and knowing how they will sound in a standard listening room.
I am correct about the microphones. Rarely if ever are they used to their ability. That is why the microphone thing you are talking about is the exception and not the rule.
Thanks DT
If you look at my posts I am all about harmon’s standard listening rooms. I am all about Directivity Index. I am all about the science and technology of testing speakers and knowing how they will sound in a standard listening room.
I am correct about the microphones. Rarely if ever are they used to their ability. That is why the microphone thing you are talking about is the exception and not the rule.
Thanks DT
What would be useful is to know how that sounds and guidelines for experiments in the listening room. I probably have some of it in a book somewhere - but it would be nice if someone here could point to some studies and tests. Any good studies out there that are relevant to domestic listening rooms?
Absorbsion at first reflection sites is fairly easy and cheap to experiment with, diffusion much less so.
That doesn't matter, the argument holds up for ALL microphone technologies including mono and panpot stereo and everything artificial stuff you can imagine to make a sound field.
With a wave of the hand.
That doesn't matter
Yes the microphone magic and artificial stuff belongs in the textbook or cookbook as possibilities. Becoming mainstream I am doubtful, too many folks doing it the way they always have. Sometimes change is slow or even goes back the other direction. Do you remember "Quad" Surround sound in the 1970's
A few years back I ripped a couple of CD's and LP's and did the digital convolution thing to the files. The converted files sounded more dimensional on headphones and on speakers. You know after years of listening, I liked the originals better.
May the zeitgeist be with you.
DT
I agree, at #47.
So, what is soundstage? An illusion to compensate by artificial and unpredictable reflections, the lack of visual information?
If the artistic content worth, and the sound plot is complex, I close my eyes even while listening live ...
What chance do I have of grasping a full orchestra, if the reflected sound of the most intense signal, overhang the direct sound of details?
I'm able to convert my speakers from near dipole to monopole. For small group recordings dipole works nicely, not so for orchestra. I'm becoming interested in "delayed late reflection" some kind of ambience speakers in an attempt to increase the perceived size of my room.
OK, I'm sitting in a room right now that is 65'Wx87'L. The JBL speakers are right up against the walls so early reflection would be very short delay. I'm probably 70' from the speakers. There is a lovely center image that takes up about 1/2-2/3 of the area between the speakers. The soundstage doesn't even reach out to the speakers.
With first reflections so close on time the speakers don't localize at all.
With first reflections so close on time the speakers don't localize at all.
This is an experiment.
With the photos of the Harman standard listening room in mind move the speakers out into the room away from the end walls and side walls.
Picture a string quartet with the 1st violin where one speaker is and the cello player where the other speaker is and the other players arched in between.
Now toe-in the speakers to minimize first reflections from the nearest side wall. The idea is to place the first reflections from the far side wall. The direct sound is from the near speaker and the first reflection is from the far wall and is aimed at the other ear.
Get up move your seat around and find your sweet spot. Or put your seat where you want the sweet spot to be and adjust the speakers.
For the unbelievers, yes there are other variables.
An added note; if you are using a active crossover adjust the time delay between the woofer and mid tweeter. There is an very noticeable change in the depth of the sound stage. or put another way, if the time alignment among woofer , mid and tweeter is not correct there will be observable ill effects.
Thanks DT
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A "window" all the sound in that direction goes out the window and never returns, a perfect absorber. A cast in place concrete wall reflects everything. In between a open window and a concrete wall is everything else. Gypsum wallboard on steel studs and on and on. Data for all the things in between fill catalogs and textbooks.
Small Room anything and everything in you home is a small room. anything smaller than a 200 seat theater is by definition a small room. A textbook thing.
Thanks DT
I'd really love to and it would be a worthwhile experiment, but this is a hotel ballroom with a meeting going on. Can't really change around things.
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