Hi Jez,
Joachim Ernst Berent wrote about listening environments in his book The Thi=
rd Ear. He uses that as a basis for explaining that we carry out much of o=
ur lives focusing on what the eyes focus on, instead of our ears.
I feel Dan is trying to get at is that once you've done your best to captur=
e your sound subjectively (e.i. position ..mic choice etc) after that, it d=
eserves a little more objectivity using an as acoustically neutral space as=
possible.
Regards,
Mark
On May 25, 2012, at 5:05 PM, "Jez" <> wrote:
> replying to a few earlier comments on my comments here:
>
> sorry, but my point, basically, is that a 'studio' setting is NOT neutral=
- it is a human perception of neutrality & furthermore the science behind =
such spaces is a product of subjective decisions from audio engineering vie=
wpoints. The interesting thing about stepping away from viewing studios / a=
coustically designed spaces for audio production is that it returns one to =
the personal aspects of listening & hearing.
>
> To put it another way: why do we spend so much time & money building spac=
es that remove aspects of how each of us hear in order to believe that we a=
re creating spaces that will allow us to hear clearer ? In a way it is an a=
ttempt to control or defeat 'nature'.
>
> I'll qualify all that by saying that as a musician I have worked in studi=
os of course & I am not anti-studios at all. Nor do I have any problem with=
acoustically tuned spaces - in fact I find them interesting in their own r=
ight anyway. What I do have issues with is when any method becomes seen as =
'the right way' to do things.
>
> On a lighter point: i'd say that if you look at all music / sound recorde=
d in studios there would be a good argument that this method of production =
has resulted in some of the worst music / sound & contributed to the erosio=
n of the listening experience :)
>
> --- In "robin_parmar_sound" <>=
wrote:
> >
> > Dan Dugan wrote:
> >
> > > In order to provide a reference environment that
> > > can then be altered to represent different monitor
> > > speakers and environments, it seems to me that it
> > > would be necessary to equalize the colorations
> > > of the headphones being used. Otherwise everyone
> > > is hearing something different.
> >
> > It is precisely because we all hear differently, with different ear can=
als, etc. that any attempt to equalise for headphone playback is doomed to =
failure. No one curve can be applied.
> >
> > And it's unnecessary in any case for the task at hand, which is speaker=
emulation. This emulation is not attempting to reproduce the perfect liste=
ner, which is a different problem.
> >
> > -- Robin Parmar
> >
>
>
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