I certainly do. It's not only a near-field, far-field, or diffuse
mic'ing issue, Rob. One has to be very conscious of the landscape,
vegetation and atmospheric conditions because, as Barry Blesser points
out in his book, SPACES SPEAK..., these (sometimes subtle) conditions
will play a profound role in the result...permutations that EQ may or
may not be able to affect.
Bernie
On May 5, 2009, at 8:15 AM, Rob Danielson wrote:
>
>
>
>
> At 6:31 AM -0700 5/5/09, Bernie Krause wrote:
> >There's a new book just published called "Sound Equalization: Tips &
> >Tricks." I haven't yet read it (just got the notice) but it might be
> >of interest to those involved in post production of sound.
> >
> ><http://www.oreilly.com/catalog/9781906005092>http://www.oreilly.com/cat=
alog/9781906005092
> >
> >Bernie
> >
>
> Thanks for the tip, Bernie. Neat idea to have before and after
> examples included with the book. The exercises should be helpful with
> learning to hear pitches and what different types of EQ can do.
>
> The author, Eddie Bazil has worked "Electro/New Wave and Dance/Rap"
> bands and samples for "beat production and remix markets" and
> probably a lot of experience with close-micing and direct feeds. Drum
> rooms and other acoustic instruments can be relevant.
>
> Don't you think far-field or diffuse field micing introduces a
> different set of equalizing challenges taken as a whole?
>
>
>
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