<<Sure, but I question the use of the concept "zone" when the more
useful concept is wavelength.>>
Wavelength is what it truly is about, but "Pressure Zone" is
patentable market-speak.
<<Question: what is the depth of the "zone" that will not produce comb
filtering below 16kHz?>>
That would involve math & I'd rather visit a dentist than revisit my
college physics notes. IIRC it's around 1/8" to 1/4".
Ever used an Electro-Voice Mic Mouse? That was boundary miking long
before anybody thought to give it a name. Since it was intended
primarily for voice pickup with PA systems, the fact that the capsule
is held perpendicular to the stage floor & about a half inch away
probably isn't that critical. I used a lot of these for years with a
touring tap dance ensemble & if we were losing as much high end as
Paul's test set up showed, nobody would ever be able to say the
rendering of clacking tap shoes on Masonite wasn't sufficiently "pure".
<<I was involved in a "purist" jazz session once (with engineer Paul
Stubblebine, I think) where huge plexi panels rigged with boundary
mics were hung over the players. That didn't last.>>
The classical guys did that for a while too. For a season or two the
Hollywood Bowl Orchestra was amplified using dozens of plexiglass
boundaries directly over the heads of the players. It's an idea that
hasn't worn well.
Scott Fraser
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