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Re: Ultimate realization of this technology

Hi Soundmind

I simplified intentionally, this is not an audience that is very familiar with room acoustics or design of commercial sound systems.
Fwiw, there are several different measures of intelligibility, RT-60 is one, ALCONS is another.

The bottom line and reason such a simplification is valid, is that if one had two speakers alternately mounted in the same location in a “bad room” with identical frequency response, identical distortion and time dispersion, then the one with the greater DI always has the better intelligibility and has a larger direct field.
One has tools like EASE to model rooms, predict coverage patters and even aurelelize the predicted result, alternately, most of our speakers at work are installed to replace large “modern” systems that don’t do a good job.
For instance;
http://www.svconline.com/how/danley_sound_labs_northhill_church_04062006/

So far as the home, keep in mind what can and can’t be done.
A perfect pair of speakers can portrait an image between them but not past.
Real speakers are not perfect, in time, speakers spread out signals unlike electronics while many of our hearing ques come from “Time” related things, one reason significant or short time delay reflections are normally not desirable.
A “perfect” recording if there was one, could only be imaged between them and this produces a huge discontinuity in the stereo panorama unlike the recording.
Also, due to intraural crosstalk (un-intended sound from the right channel reaching the left ear etc), one has less discrete channel information with speakers than headphones for example.
A solid 360 degree image requires about 6 channels, which brings us to the next problem.
One microphone can capture the pressure at one point in space perfectly.
As soon as you have two, you have more than one time reference and like reflections do, you have harmed the integrity of the sound.

Modern recording on the other hand are RARLY configures to capture any original image, rather, even for a piano, several mics are often used and placed inside the piano.
Normally, all the individual microphones are then panned to the desired “spatial” positions.
Also, in most recordings the dynamic range of the original signal is compressed and raised in average level to make a “louder” recordings.

This actually is an area of interest of mine, I have been working a Vector sensitive pressure microphone.
If you have a good set of headphones, down load the fireworks recording from our website and listen to it.
This was in my backyard, a good distance from were they were set off and has no dynamic compression fwiw.

Best,

Tom Danley


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