Good question as some near-coincident setups like the NOS array for
example typically employs a microphone spacing of 30cm which is
approaching the 'spaced area' according to some theories of spaced
arrays (e.g. refer to the DPA approach of 1/4/ wavelength of your
lowest source frequency). On the other hand on purely theoretical level
arguments have been made for a microphone spacings of 1/3 - 1/2 of the
width of the source, but this tends to lead into very large microphone
spacings in practice (certainly in ensemble recording) and to the
typical hole-in-the-middle image under such conditions (and of course
this model is not such a useful tool when to think about when recording
a soundscape without a distinct source as it can get tricky to decide
how wide is a 1/3). I am very interested in hearing all your opinions
on John's question and how spaced arrays are approached in soundscape
recording.
Thanks,
Antti Sakari Saario
On 27 Apr 2006, at 02:40, John Hartog wrote:
> At what distance does near-coincident end and spaced begin?
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> John Hartog
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> "Microphones are not ears,
> Loudspeakers are not birds,
> A listening room is not nature."
> Klas Strandberg
> Yahoo! Groups Links
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Dr Antti Sakari Saario
Lecturer and Director of Studies in Music Technology
LICA - Lancaster Institute for the Contemporary Arts
Room A4A, Music Building, Lancaster University, LA1 4YW, UK
Tel: +44(0)1524594496 / Fax: +44(0)1524 593939
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