On 01/05/2011 23:09, Richard Dobson wrote:
how can localisation and separation be distinct?
I think the two words are too useful to be treated as exact synonyms - that would mean one of them
is simply wasted. So I would say the former is absolute - this or that degree azimuth. The latter
is relative - A is 20deg to the right of B (or even, 2M behind B). If that's not a useful
distinction, OK.
if two sources are,
say, 20° apart, it's very hard to separate them when you're sitting in
the precise sweetspot of a FOA system, and totally impossible outside.
All I can say is, my memories are different - I saw/heard very accurate localisation and
separation in a live Electric Phoenix gig at the Arnolfini, Bristol, maybe 20 years ago as I
mentioned before - the amplified voice was localised so that you heard each voice ~exactly~ at
the position the singer was in. They were some 40 feet away, so very much less than 20 degrees,
and I was sat a long way left of centre, in raked seating. The effect was somewhat jaw-dropping;
and as far as I am aware, that was all first-order analog panning, engineered by John Whiting. Of
course, it was an auditorium-sized space. Dave Malham may know what order he was actually using as
he probably designed the decoder - if it was HOA I will fully and gladly acknowledge my
misunderstanding. I have no memory at all of the number or location of the loudspeakers.
I didn't design any of John's stuff, though he did use, for a while, a programmable hardware encoder
that I built for Trevor Wishart (used two TMS9995 16 bit processors and some 14 bit multiplying set
up as gain controls plus sign switching - whole thing controlled over a serial line from a Sinclair
QL!), IIRC, he used Audio Design gear himself, so decoders with shelf filters, even though it
supposedly does not help over large areas...and he even used UHJ a lot.
Dave
--
These are my own views and may or may not be shared by my employer
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