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Re: Doesn't the proximity of the microphones corrupt the chain??

Actually, this means you have a fairly "dead" listening room, Because if you record in room at the listening position and them play back into the same room, you have two room transfer functions instead of one. Imagine a recording of the same quartet in a reverberant church, then played back through a system in the same church - disaster, right?

The you could argue that you should record in an anechoic environment and the play back in your room to get the most realistic "they are in my room!" effect. This actually works quite nicely with small scale recordings (The origional EV "Voice of the Theatre" monophonic real vs. recorded "behind the curtain" were recorded anechoically.)

There are a few reasons why this is not done very often - especially on a large scale.

First, musicians don't play as well in an anechoic environment. Companys that make practice rooms for musicians, like Wenger, offer rooms that have adjustable reverberation added by using wall mounted mics (2) and DSP adjustable loudspeakers to select room size and type.

Second, a large scale orchestra or even a rock band on stage couldn't reallistically BE in your room and your brain would just be confused... like listening to a Binaural recording through headphones but keeping your eye's open.

Finally, We usually want to capture the ambience of the recorded performance in playback - that means the hall, amphitheater, church, stadium or even the recording engineer's "vision" of ambience ("Dark Side of the Moon", anyone?). So we record the ambience and have playback systems that are neutral and rooms that try to be "diffusely absorbant"

Those of us that have tried "Near Field" systems are just trying to minimize the effects of our room on the playback experience.


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  Kimber Kable  


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  • Re: Doesn't the proximity of the microphones corrupt the chain?? - gymwear5@hotmail.com 08:32:32 11/03/04 (0)


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