[Jeffrey Hedback]

That we did Art!

It is (use of diffusion on first reflection points) so dependent on all room/system factors.  I personally am a big fan of diffusive ceiling (in proper context)...the added sense of room heightvolume and clarity in the 800Hz to 2KHz range can be very enjoyable.

Nylar, I too love the use of aborption/reflection to create controlled yet "open" lateral reflection...grea description also, nicely stated!

A big concern with lateral reflections is room ring (to me) moreso than flutter echos.  Room ring is a midrange distortion (usually 400Hz to 1200Hz) between parallel surfaces that tends to be most audible between sidewalls (16' width or less typically) around the listener.  Absorption can often be the best option in this case.  The wider the room, the greater the choices.

In Art's room, the 20'+(ish) width allowed the BAD Arc's to be located with less critical emphasis on symmetry and more emphasis on how the panels worked between the two walls as a single system.

[Nyal Mellor]

Jeff

Its Nyal, not Nylar 

No problems 

[Jeffrey Hedback]

Nyal,

My apologies...so sorry.  I appreciate your understanding.

[Nyal Mellor]

No problems. I am totally used to being called Nigel, Niall, Kyle, Lyle and many other things. I fact sometimes I call myself Tom, no one get's that one wrong!

[Ethan Winer]

^^^ Thanks for clarifying, Miles.

[arthurs]

No problems. I am totally used to being called Nigel, Niall, Kyle, Lyle and many other things. I fact sometimes I call myself Tom, no one get's that one wrong!

You're probably right, no one should get Tim wrong....   

[syntheticwave]

That we did Art!

It is (use of diffusion on first reflection points) so dependent on all room/system factors.  I personally am a big fan of diffusive ceiling (in proper context)...the added sense of room heightvolume and clarity in the 800Hz to 2KHz range can be very enjoyable.

Nylar, I too love the use of aborption/reflection to create controlled yet "open" lateral reflection...grea description also, nicely stated!

..go reading that article, describing a simple model of the sonic field:

http://www.syntheticwave.de/Sound%20and%20Room.htm

That agrees your opinion, we have to aviod wrong first reflections. Later reverberation much less disturbing.

H.

[John Casler]

..go reading that article, describing a simple model of the sonic field:

http://www.syntheticwave.de/Sound%20and%20Room.htm

That agrees your opinion, we have to aviod wrong first reflections. Later reverberation much less disturbing.

H.

Interesting article and thanks for pointing it out.

I find the following quotes relevant:

In the most cases, the goal of playback is no longer the reproduction of a live event; the recordings are much more a product of art.

The positions in stereo panorama became specify by means of the pan- pot during post- editing, and synthetic reverb ought to be the completing the room impression.

So in other words (and I agree in many cases) the idea is not for accurate reproduction of the original event, but more a pleasant sonic product of our own creation.

With the wide variety of recordings, I think the majority are as he describes.

So the actual goal of translation from live to recorded is not sonic reality, but pleasant artistry.

One might even go on to say that their are now at least two kinds of audiophiles, (and recordings) or audiophile goals, one that is interested in the closest reproduction of the original event in a different space, and one that is interested in the most pleasing reproduction including the different space.

[syntheticwave]

So the actual goal of translation from live to recorded is not sonic reality, but pleasant artistry.

...I think, we would need both. The possibility for recreating the genuine sonic field in all three room dimensions, as well also creating  product of art, which in some cases much better as the real event.

In any case seem subtract the playback room acoustics, as described at the site, is the more sophisticated way in any case, compared by damping.

[Ethan Winer]

I agree completely that most recordings don't have to strive for accuracy. What matters most is if it sounds pleasing. Most / all pop music is a studio creation. Even with classical and jazz, the best recordings (IMO) are far from sounding like the real thing. I want clarity, and a full pleasing sound.

In any case seem subtract the playback room acoustics

That's my take too. If we trust the artists and producers and engineers to create stuff that sounds good, then that is what we should aim to hear accurately. When you remove the room from the playback, you get closer to the artist's intent.

--Ethan

[John Casler]

When you remove the room from the playback, you get closer to the artist's intent.

--Ethan

AMEN!

[syntheticwave]

When you remove the room from the playback, you get closer to the artist's intent.

--Ethan

Hi Ethan,

Unfortunately, we have not really a chance for removing the playback room acoustics in the traditional audio, because all signal components are merged already during the record. In my opinion, we need, besides some other revolutions , also a revolution in audio, off from the channels orientated, towards the object related solutions, like Wave Field Synthesis and Holophony.

H.

[syntheticwave]

....revolution in audio, off from the channels orientated, towards the object related solutions,...

I think there is a need to describing this:

The main, which we have to discuss in that thread is, we perceive two rooms in one record. The recording room acoustics, stored in the recording, and in addition, unwanted, the playback room acoustics.
As far as the playback room acoustics roughly the same as the recording room acoustic, two ways for solve the problem exist:
Either, we avoid record of room acoustics during record, or we are avoiding reflections by playback room damping.
In the most cases however, the recording room and playback room is very differently in the acoustic matter. The reflective behavior is one of the obstacles, but much more important is the different size.

In that situation, no other way remains as damping the reflections of playback room. In another case, the first reflections arrive too early at the listener, causing short Initial Time Delay Gap and wrong comb filter effects. Unequally later reflections, the first reflections cannot equalize its influence by statistic superposition. Single reflections are causing deep notches and big hills by superposition with the direct wave front.

The object related procedures transmit the pure audio (content) , and create the reflections from information regarding recording room properties (form). That allows, subtract the additional run times in the playback room. The notches and hills are the notches and hills of the recording room by this reason, without damping strongly the playback environment.


H.