Hello Goran, I enjoyed your post (re Sursound Digest Vol 59 Issue 27). I'm a big fan of Ambisonics, as I'm sure nearly all readers here are. But Ambisonics doesn't cover all bases, and (in my opinion) neither can any single miking technique. What we often overlook is the quality or timbre a mic brings to the recording, and how this affects the artistic aspect of the performance. What you said about mics and speakers is what I try to convey to students: A system that is only as good as it's weakest component. But there can also be unexpected synergy across components that yield outstanding results. I'd much rather listen to a high-quality monaural recording that a marginal stereo or surround recording--who wouldn't? When I attend a concert or event, I don't get goosebumps because I can localize a sound or notice the absence of combing effects. The rush comes from the art, and the live experience has many dimensions. I'll confess that I don't listen to a lot of classical or symphony music. I've seen Itzhak Perlman, Christopher Parkening, Kodo Drummers of Japan, Brian Setzer Orchestra (swing jazz plus Stray Cats), Joe Jackson, Pilobolus Dance Theatre, Moscow Symphony Orchestra, Talking Heads, and a lot of diverse performances at Centennial Hall in Tucson, AZ. Nothing compares to live performances, but that doesn't make listening at home any less enjoyable. What can ruin any experience is simply bad sound--mono, 10.2 surround, Ambisonics, whatever. In some instances (such as seeing Itzhak Perlman), I don't believe I'd want a live, surround recording because of the number of squealing hearing aids in the audience would be picked up/recorded (this says something about demographics of audience... I suppose). In a live performance, this distraction goes (mostly) unnoticed. At home, it would probably drive me to turning off the hi-fi and letting those expensive WE 300B triodes cool off.
Like a set of paint brushes, each mic lends itself to a style and technique. Being armed with only one brush (unless everything is about minute detail) isn't generally advised. Same analogy for microphones. I very much enjoy learning from others, but I also have a propensity to go out and make my own mistakes despite *sound* advise from others. (Repeating mistakes of others a second definition of insanity?) Best regards, Eric PS--This title's post, Mono Mia!, was taken from a Sound Practices magazine (out of print) article. Some people prefer vintage horns and Western Electric gear to VSTs and powered studio monitors. Nobody's right--it's what makes you sing that counts. -------------- next part -------------- An HTML attachment was scrubbed... URL: <https://mail.music.vt.edu/mailman/private/sursound/attachments/20130629/f4681280/attachment.html> _______________________________________________ Sursound mailing list [email protected] https://mail.music.vt.edu/mailman/listinfo/sursound
