Correction: Jecklin Disk.
--- In "rock_scallop" <> w=
rote:
>
> Hi David,
> I find the concept of perceived phantom source shift interesting though s=
omewhat confusing. The paper explains "shift" as "the percentage of distanc=
e from the middle of the image to either of the speakers." The greatest max=
imum average shift of 104%(shown in Table 2)was found from a Binaural setup=
, and the lowest maximum shift was 81% from a XY setup. Even if they found=
XY to be most linear, still we are talking of a compression to 50 degrees =
of the original 180 degree horizontal soundstage.
> Meanwhile on the nature recording front, soundscape microphone techniques=
like Jecklin Dick, SASS, Curt's parallel boundary arrays, and other techni=
que can produce much wider spread to significantly outside the speakers, gi=
ving a maximum phantom shift upwards of 200% (or 120 degrees) from a standa=
rd speaker setup. Some with fairly linear localization also, if that is wha=
t is important.
>
> John Hartog
> oregonsoundscapes.com
>
> --- In brini@ wrote:
> >
> > >> Some years ago there was an AES paper (sorry I can't find it now) on=
a >> shoot-out between a number of popular stereo arrays. ORTF got high ma=
rks >> for source positioning accuracy.
> >
> > Dan,
> >
> > I have more on another paper below but what I have also found is:
> >
> > "Choosing and Configuring a Stereo Microphone Technique Based on
> > Localisation Curves
> >
> > Magdalena Plewa1 / Piotr Kleczkowski1"
> >
> > Link:
> > http://www.degruyter.com/view/j/aoa.2011.36.issue-2/v10168-011-0026-8/v=
10168
> > -011-0026-8.xml
> >
> > URL:
> > http://www.degruyter.com/dg/viewarticle.fullcontentlink:pdfeventlink/$0=
02fj$
> > 002faoa.2011.36.issue-2$002fv10168-011-0026-8$002fv10168-011-0026-8.pdf=
?t:ac
> > =3Dj$002faoa.2011.36.issue-2$002fv10168-011-0026-8$002fv10168-011-0026-=
Message: 8.
Subject: xml
> >
> > Spin down past the maths and look at the plots on page 9. These give th=
e
> > object/image localisations for various setups. Figs 6 and 7 compare ORT=
F
> > with XY at 90 deg.
> >
> > Back to another email:
> >
> > > Is it this one
> > > http://tinyurl.com/potfwud
> >
> > John,
> >
> > I've just waded through this paper and it is assessing distance percept=
ion
> > with different loudspeaker combinations in large auditoriums.
> >
> > They settled on an ORTF mic setup:
> >
> > "In a comparison of various stereophonic
> > microphone arrays, Hugonnet and Jouhaneau [8] find
> > that coincident techniques (such as XY and MS) yield
> > the most accurate lateral localization, while closely
> > spaced techniques (including O.R.T.F.) yield the finest
> > distance discrimination. In another comparison, Ceoen
> > [9] found a subjective preference."
> >
> > The recordings were all done on an ORTF mic rig, after rejecting AB and=
MS
> > but "dipole" loudspeakers were included in antiphase. They were only lo=
oking
> > for distance and special effects, not lateral effects.
> >
> > However, one reference looks interesting but I haven't located it:
> >
> > C. Hugonnet and J. Jouhaneau, =E2=80=9CComparative
> > spatial transfer function of six different
> > stereophonic systems,=E2=80=9D 82nd Audio Eng. Soc.
> > Conv., London, Preprint 2465(H-5), 1987.
> >
> >
> > My conclusion for nature recording? Check out your rigs with a shaking=
> > peanuts test using your ears. :-)
> >
> > David Brinicombe
> >
>
"While a picture is worth a thousand words, a
sound is worth a thousand pictures." R. Murray Schafer via Bernie Krause.
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