Hi Klas,
I've only had a very quick listen, and only to a few of the files.
A couple of comments - in my own recordings I found the original
Crown SASS tended to block sounds from directly in front because the
nose was too 'square', and the SASS design seems to work better with
the nose tapered a bit to give a more even spread of sound.
The SSM seems very bright in comparison to the SASS, and the image
seems not as wide.
If the same capsules are being used, I am at a loss to say why one
rig should be so much brighter than the other (I was listening to the
tracks with rain). Unless it's something to do with the too-wide
nose of the SASS?
Nice sound from the SSM though. I definitely know what you mean by
being comfortable (or not) when listening to nature recordings.
cheers,
Vicki
On 12/08/2012, at 9:40 AM, Klas Strandberg wrote:
> Hi everyone, I can't stay out of this, even if I perhaps should.
>
> At http://klas.telinga.com/SSM-SASS/ there is a comparison between
> the Telinga SSM and the SASS. I put up this site only to ask a few
> people that I trust, to say their opinions.
>
> The site is messy and you have to read the track descriptions
> carefully. But it does give an impression on how different, or alike,
> two systems can be. The microphone capsules are the same.
>
> Bernie, about Curts rig and the "Murie" mike,
> It seems to me as if our brain (hearing) mostly is quite pleased with
> getting some "clues" about what is happening and that unconscious
> processes, based on experience, add what is lacking. In this issue
> about mini-mic's, it means that the brain only needs a stereo "reach
> out" at some higher frequencies and adds the rest by experience.
> This is supported by recent psychological experiment on seeing. There
> are evidence that the brain can take decisions much faster than what
> ever reaches our conscious part of the brain, simply by getting some
> "clues" and then adding, based on experience and probability. It's
> really a revival of Freud, actually, but in other words and focusing
> on perception.
> If so, it might explain why I "feel" the difference between different
> mic systems and also between different loudspeaker systems. Some
> systems seem to make "emotional sense", while others do not. It could
> be that some systems make my brain work hard to fill the gaps,
> (stress) while other systems already contains most of what my brain
> needs, (tranquility).
>
> It's a speculation, but it would partly explain "why it works" when
> it "shouldn't". The Murie mike "worked" but I never "felt"
> comfortable with it, even though I tried and tried. Instead of
> enjoying what I heard, I was all the time busy thinking about what
> would happen if the capsules were more apart, or more angled out, or
> closer, or.... what? I could never relax to what I heard.
>
> Klas.
>
>
>
>
>
> At 17:39 2012-08-11, you wrote:
>> <<The SASS-type rigs deliver a super clean image without any of the
>> "wavy" microphone interactions that are common to ORTF, M-S and
>> Spaced-Omni arrays. >>
>>
>> Could you describe what you mean by "wavy"? Given how vastly
>> different ORTF, MS & Spaced Omni are from each I can't imagine what
>> characteristic they would all have in common. Are you referring to
>> the partial blending toward mono of any non-baffled array?
>>
>> Scott Fraser
>>
>>
>>
>>
>> ------------------------------------
>>
>> "While a picture is worth a thousand words, a
>> sound is worth a thousand pictures." R. Murray Schafer via Bernie
>> Krause.
>>
>> Yahoo! Groups Links
>>
>>
>>
> S-748 96 Tobo, Sweden.
> Phone & fax int + 295 310 01
> email:
> website: www.telinga.com
>
>
>
>
>
> ------------------------------------
>
> "While a picture is worth a thousand words, a
> sound is worth a thousand pictures." R. Murray Schafer via Bernie
> Krause.
>
> Yahoo! Groups Links
>
>
>
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