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HUG - here for all audio enthusiasts

At its inception ten years ago, the Harbeth User Group's ambition was to create a lasting knowledge archive. Knowledge is based on facts and observations. Knowledge is timeless, independent of the observer and can be replicated. However, we live in new world in which objective facts have become flexible, personal and debatable. HUG operates in that real world, and that has now been reflected in the structure of HUG.

HUG has two approaches to contributor's Posts. If you, like us, have a scientific mind and are curious about how the ear works, how it can lead us to make the right - and wrong - decisions, and about the technical ins and outs of audio equipment, how it's designed and what choices the designer makes, then the factual Science of Audio sub-forum area of HUG is your place. The objective methods of comparing audio equipment under controlled conditions has been thoroughly examined here on HUG and elsewhere and can be readily understood by non-experts and tried-out at home without deep technical knowledge.

Alternatively, if you just like chatting about audio and subjectivity rules for you, then the Subjective Soundings area is you. If upon examination we think that Posts are better suited to one sub-forum than than the other, they will be redirected during Moderation, which is applied throughout the site.

Questions and Posts about, for example, 'does amplifier A sounds better than amplifier B' or 'which speaker stands or cables are best' are suitable for the Subjective Soundings area. From Oct. 2016, Posts in the Subjective Soundings area will not be spell checked or adjusted for layout clarity. We regret that but we are unable to accept Posts that present what we consider to be free advertising for products that Harbeth does not make.

The Moderators' decision is final in all matters and Harbeth does not necessarily agree with the contents of any member contributions and has no control over external content.

That's it! Enjoy!

{Updated Jan. 2017}
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Microphones, rooms and ears - a tale of imperfect transducers

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  • Microphones, rooms and ears - a tale of imperfect transducers

    Listening to a radio broadcast recently I was reminded how the acoustic space in which the recording was made hugely influences the final sound we hear at home. There is some synergy between the voice to the microphone and the speaker to the listener's ears. In the first case, the further the voice (or instrument) is from the microphone the more the mic captures the contribution of the room. In the second case, the further the listener is from the loudspeakers the more contribution the sound reflected around the room makes. So the common factor in both the recording and replay ends of the chain is the distance between source and transducer.

    We can take this a step further. We can make recordings using a selection of microphones at (nearly) exactly the same distance from the source and on replay we will hear a very different tonal colour to the recordings. This is because all microphones have two personalities: the up-close direct signature and the further-away off-axis character where, depending upon factors in the microphone design, more or less of the room's contribution will be audible - possibly even boosted compared with reality.

    In the listening room we have the same issue in reverse: the on/off axis behaviour of the loudspeakers will spray the room with sound over at least 180 degrees, and depending upon the dispersion characteristics of the speakers, what the listener inevitably hears is the combination of the loudspeakers' character on and off axis plus the rooms absorption or reflection over 180 degrees in the middle and top frequencies and 360 degrees in the lower ones.

    If we agree that there is a strong analogy between sound into the mic and sound from the speakers and the inevitable contribution of the room we can step forward. It's not going to be easy for us to hear (or convenient to measure) the contribution that the listening room makes to the sound we hear at home, but we certainly can demonstrate the influence of on-off axis performance at the other end of the chain by moving the microphone about in the recording studio. The influence of the room - even a studio acoustics - is clear to hear.

    Do you follow my thinking on this?
    Alan A. Shaw
    Designer, owner
    Harbeth Audio UK

  • #2
    Yes I do Alan and am looking forward to your further thoughts. I believe this is an important factor to often ignored in the listening experience.

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    • #3
      Symphony Hall vs. Harbeth C7ES3

      Alan,
      A variation of this topic came up on the HUG some time ago. I have a BSO recording (SACD) of a Mozart performance I attended. Symphony Hall is considered to be one of the best halls in the world. My subscription seat is 5th row center. The experience of live vs recorded is just different, not better or worse. I have sat in different locations, and I would say the best overall sound is further back at rows 12 to 15, but the volume decreases a bit. There are fewer distractions in my listening room, which I think also makes for a different experience.

      DG

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      • #4
        OK, I'll look out for some examples. I keep hearing them (on the radio) but forget time and date. Must make a concentrated effort to capture some!
        Alan A. Shaw
        Designer, owner
        Harbeth Audio UK

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