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Of course if you were going to go to that much trouble you might as well
just listen to a real orchestra
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--On 17 May 2013 17:53 +0200 Augustine Leudar
augustineleu...@gmail.com wrote:
However I dont see why it wouldnt work for musical instruments as
well - as long as the speakers were placed in exactly the same place
as the instruments were recorded in and the mics didnt pick up any
other
capture what is heard but what is produced - and your
other question - yes it is a form of amplitude panning.
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Ronald C.F. Antony wrote:
On 16 May 2013, at 14:32, Stefan Schreiber st...@mail.telepac.pt wrote:
Ah, another new business model for music delivered via the WWW... :-)
Just to warn you: These exclusive contracts (where Majors pick just one distributor for a
special format)
I believe Gilbert Briggs of Wharfedale did something like this in the
1950s. He hired major concert halls and other public venues in the UK
and USA to give concerts comparing live with recorded sound. Of course,
the purpose was to promote his Wharfedale loudspeakers and Quad
amplifiers (he and
Ronald C.F. Antony wrote:
On 16 May 2013, at 05:24, Richard G Elen re...@brideswell.com wrote:
A strong eco-system like iTunes could use B-format with proper software
changes, weaker eco systems could use UHJ, and simply have UHJ-capable players,
but in the absence of such, would still
I think I did not make myself clear.
Of course in those live versus canned experiments(also with AR)
reverberation tended to make things sound pretty much the same
to smooth out errors and so on.
But in fact, if one records musical instrument with a mike
and plays it back with a speaker has no
