robert bristow-johnson wrote:
.. From: "Theo Verelst" <theo...@theover.org> .. > > To me it seems the preoccupation of maximizing the mix output isn't wrong, but the digital > domain problems usually has other handles. The choir example of adding say a thousand > voices and needing 10 more bits you would need 10 more bits only if there was much of a possibility of all 1000 voices singing a synchronized-phase tone, a coherent waveform like an acoustic laser beam. you wouldn't need 10 more bits otherwise (assuming each of the 1000 has the same power as 1). every bit gains you 6dB of headroom and every time you double the power, you lose 3 dB of headroom. ...
It's for a normal choir a game of reflections, I suppose. Every source will bounce of the walls and form a bit diffuse background wave after a few bounces, which adds to the direct waves and probably averages out to lower than max-phase additions with respect to a certain listening point. Though in principle when you consider a nice coherent incident wave front coming together at a certain listening spot, it could be that the "Space Odyssey" choir could put a few hundred voices coherent into the reverberation, too, that would be scary!
Dynamics for mixing weak sources probably is in a Equal Loudness curve where the mid frequency range is all that can be perceived unless the amp is turned up for a soft passage. What the voices should in such case do with respect to each other is maybe making sure the (normal, additive) interferences (bows and throughs) sound comely in the 2.5-4kHz range instead of the for a choir nice few hundred Hertz range.
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