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Some ramblings about mics and speakers.

85.19.92.6
Posted on April 30, 2016 at 06:17:45
beppe61
Audiophile

Posts: 4705
Joined: January 29, 2004

Hi !
sorry for this maybe weird question.
I was watching a video on Youtube with omnidirectional speakers from MBL (gorgeous indeed).
I remember someone saying that these type of omni speakers (with 360 dispersion) have more chance to reproduce correctly the soundstage than more traditional speakers that radiate only frontally (180 degrees of polar dispersion).
I am not so sure.
If we look to a mic, it captures only the sound coming frontally its diaphragm.
To reproduce correctly the sound captured by a mic i should use a speaker that radiates only on a 180 polar angle.
Therefore i think that a traditional speaker has much more chance to reproduce a correct soundstage than an omnidirectional speaker.
I would go even further.
As a extreme a wall speaker would be even better because there will be only a 100% frontal emission.

Have you ever listened to in-wall speakers ? do they have a great depth of image for instance ?
because something tells me that they are great soundstagers.
Thanks a lot for any advice.
Kind regards,
bg

 

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RE: Some ramblings about mics and speakers., posted on April 30, 2016 at 06:53:17
Kal Rubinson
Reviewer

Posts: 12436
Location: New York
Joined: June 5, 2002
 First, microphones are not restricted to transducing information only from the front of its diaphragm. See the link to the range of polar patterns for microphones.

Second, listening in an anechoic chamber is strange and unnatural. Reproduction of the full soundstage in domestic stereo systems relies to a great degree on room reflections and using omnipolar speakers, such as the MBL, can enhance that experience. In-wall speakers can be an option but, because of their fixed positions, require rather sophisticated preparation and setup.

Third, the satisfying in-room stereo illusion cannot be accurate because it is highly dependent on the particular acoustics of the listening room, any listening room. The use of lots of acoustical design/treatment and discrete multichannel recordings can recreate a more accurate soundstage.

 

you do it this way with an omni microphone, posted on April 30, 2016 at 07:08:42
bullethead



suspend the microphone from the ceiling...

 

RE: you do it this way with an omni microphone, posted on April 30, 2016 at 07:21:35
beppe61
Audiophile

Posts: 4705
Joined: January 29, 2004

Hi ! thanks for the kind advice.
Yes but in this case, following my reasoning, the speaker should also radiate from above. Mirroring in this way the pattern of the mic.

In the meantime i have found something. Omni mics have indeed a spherical pattern.
So maybe when they are used in the recording an omni speaker is indeed the most suitable transducer to playback the recording ?
Interesting subject for sure.
I have to study more.
Thanks a lot again.
Kind regards,
bg

 

What you are talking about is holographic recording..., posted on April 30, 2016 at 07:31:52
bullethead
 Check out my approach, it is my recording...

I used a sure 57 mic at the front of the room with amp towards the back, one microphone that is it.

24bit 192khz flac download link below...

Ideally you would have two omni microphones panned on to the left all the way and another one panned to the right all the way. They would be placed in front of the performance, either with or without a lead singer microphone should you have one. If you have a lead singer microphone you would center that one in the mix.

My recording was done with one mic but you get the idea, what you want to recreate is the performance. And leave it at that.

 

RE: Some ramblings about mics and speakers., posted on April 30, 2016 at 07:32:52
beppe61
Audiophile

Posts: 4705
Joined: January 29, 2004

Hi ! thanks a lot for the very interesting link.
Let me rephrase.
For me omnidirectional mics are not good if the playback is done with traditional speaker only with frontal emission, like it is in almost all cases.
Omnidirectional speakers are very rare and very difficult to place in a room.
Cardioid microphones that, as i read in the Shure's pages, are most sensitive to sound at the front and least sensitive at the back, would be for me a much better choice.
I go on reading " Their unidirectional pickup makes for affective isolation of unwanted ambient sound and high resistance to feedback when compared to omnidirectional alternatives. Cardioid microphones are essential when considering a mic for live performance "

To end the ramblings if i had to make a recording to be played back on traditional front radiating speakers (like in the 90% of cases) i would use mic which capture only from the front. The soundstage rendition would be much much better IMHO.
Thanks a lot again.



Kind regards,
bg

 

RE: Some ramblings about mics and speakers., posted on April 30, 2016 at 07:49:29
Kal Rubinson
Reviewer

Posts: 12436
Location: New York
Joined: June 5, 2002
 There are no "traditional" speakers with only frontal radiation (regardless of their emissive sources) unless they are in-wall.

Now, there is another issue. If the mics transduced only sources from the front and your speakers had only frontal radiation (all theoretical), the only source of ambient field during playback would be from the unavoidable reflections in your own particular room and nothing like that of the space in which the performance was recorded.

 

RE: What you are talking about is holographic recording..., posted on April 30, 2016 at 08:16:43
beppe61
Audiophile

Posts: 4705
Joined: January 29, 2004
Hi !
thanks a lot again for the valuable advice.
I am on HPs now.
I will listen to the recording asap on the stereo system.
My idea is very trivial.
Usually we listen to speakers that have more or less a 180 degrees dispersion and radiate mostly frontally.
This is the 90% of the cases i guess.
Even planars soundstage better when the back emission is absorbed.
So the idea is to use mics that capture only frontally to mirror the speaker behaviour.
I am thinking to buy two cardioid mics and a cheap recorder just to check if i am right.
Exciting topic indeed this one of the recording.
Sorry for the trivial questions but i am a beginner.
Thanks a lot again.
Kind regards,
bg

 

RE: Some ramblings about mics and speakers., posted on April 30, 2016 at 08:25:43
beppe61
Audiophile

Posts: 4705
Joined: January 29, 2004
 " There are no "traditional" speakers with only frontal radiation (regardless of their emissive sources) unless they are in-wall "

Ok. But if you walk around a speaker (i have done this) in a good listening room the lateral and rear emission are much much lower than the frontal emission.
I am completely for speakers with controlled emission.
I love absolutely horn speakers (when well done) and they have controlled emission.
Let me be a little silly ... in my stupid mind i could imagine a mic with a horn being the best method for a signal played back thorugh a horn. To keep the patterns (recording and play-back) absolutely the same between recording and play back.
If you see what i mean.

" Now, there is another issue.
If the mics transduced only sources from the front and your speakers had only frontal radiation (all theoretical), the only source of ambient field during playback would be from the unavoidable reflections in your own particular room and nothing like that of the space in which the performance was recorded "

Yes this i understand and actually i would do anything to avoid room reflections. I like the analogy with the bats. They see object if the object reflects sounds. Put them in anechoic chamber and they crash against the walls. Instead if you want to see them getting crazy put them in a reverberant room.
I would do anything to tame reflections.
They are devastating for soundstage.
However i would try to do some recording with cardioids .. i am very curious to listen then through the speakers the results.
Thanks a lot again.
Kind regards,
bg

 

RE: What you are talking about is holographic recording..., posted on April 30, 2016 at 08:30:28
bullethead
 Interesting to see what you think of that recording. It is one and just one unidirectional mic, I asked some here before on their thoughts, they said they can hear the atmosphere ....

There is no one right way, MBL definitely is way far advanced for it time because recordings just plain are horrible, especially mass market music.


 

RE: What you are talking about is holographic recording..., posted on April 30, 2016 at 08:51:29
beppe61
Audiophile

Posts: 4705
Joined: January 29, 2004

" Interesting to see what you think of that recording. It is one and just one unidirectional mic, I asked some here before on their thoughts, they said they can hear the atmosphere .... "

i will report for sure. With HPs the effect is not evident.
I will do it asap.

" There is no one right way, MBL definitely is way far advanced for it time because recordings just plain are horrible, especially mass market music "

They look like omnidirectional speakers to me with very advanced drivers. Those drivers are really something. But other omni have been built in the past. The big difference is in the quality of the drivers. These of the MBL are quite unique.
But omni is not a new concept.
I do not like it by the way.
I like good horn speakers with controlled dispersion.
Thanks a lot again.
Kind regards,
bg

 

It's a crapshoot, posted on April 30, 2016 at 11:05:43
genungo
 When the recording style compliments the dispersion characteristics of the speaker system, soundstaging seems better. When the recording style clashes with the dispersion characteristics of the speakers system, soundstaging seems worse. Because room reflections always influence the way recordings sound in a loudspeaker system, no speaker is "best" at soundstaging - it largely depends on recording/loudspeaker synergy.

The point is further driven home, in a roundabout way, when you switch over to headphones. Recordings that were mic'd to produce strong left/right spatial cues will seem to "soundstage" much less realistically than recordings mic'd for a more diffuse sounding mix, regardless of the headphones being used.

 

RE: What you are talking about is holographic recording..., posted on April 30, 2016 at 11:49:59
Kal Rubinson
Reviewer

Posts: 12436
Location: New York
Joined: June 5, 2002
 Here is famed conductor Herman Scherchen with his omnidirectional design from the 1950s. Bose had nothing on him.

 

RE: What you are talking about is holographic recording..., posted on April 30, 2016 at 12:38:54
beppe61
Audiophile

Posts: 4705
Joined: January 29, 2004
Hi !
sorry but i hear only noise.
What is it ? music ?
I have problem with high rez files.
I listen only to 16/48 max.
Thanks again.
Kind regards,
bg

 

RE: What you are talking about is holographic recording..., posted on April 30, 2016 at 12:45:50
beppe61
Audiophile

Posts: 4705
Joined: January 29, 2004
Hi ! i think i have found what i meant to say.
That the mic pattern should be similar to the speaker dispersion.
If we look at the polar dispersion of a normal frontal radiating speaker is very similar to cardioid pattern.
So the best solution for recording a stero track would be a pair of cardioid mics rightly positioned.
Does this make sense ?
Thanks again.
Kind regards,
bg

 

RE: It's a crapshoot, posted on April 30, 2016 at 12:50:44
beppe61
Audiophile

Posts: 4705
Joined: January 29, 2004
 Hi ! this is exactly what i have in mind.
That when the pattern of the mics used for the recording looks like the speaker dispersion the rendering of the soundstage is better.
I am fanatic of soundstage. For me it is by far the more important goal in a stereo system.
And if we look at the polar dispersion of a normal frontal radiating speaker it looks very similar to a cardioid pattern.
So the best solution for recording a stero track could be a pair of cardioid mics rightly positioned and not the omni like anyone use.
Does this make sense ?
Thanks again.
Kind regards,
bg

 

RE: "Does this make sense?", posted on April 30, 2016 at 13:38:32
genungo
 "Sense"? Bwaa-haha-hahaaa-aaa!

I suspect that different people will have different ideas about what constiutes good "soundstaging" in the typical two-channel home stereo system.

Some listeners might prefer the kind of *consonant* recording/speaker synergy that you describe, others will prefer a more discordant type of recording/speaker synergy. Each type of recording/speaker synergy will produce different "soundstaging effects" and it is up to each of us to decide which type sounds best with the majority of two-channel recordings that we listen to.

I really don't think that there is a "best" way when it comes to implementation in two-channel stereo, given the diversity of techniques used in two-channel stereo recording (and the corresponding diversity in loudspeaker design). Listen and decide for yourself what is best?

 

Well..., posted on April 30, 2016 at 14:40:49
vinyl survivor
Audiophile

Posts: 1471
Location: Southeastern US
Joined: November 28, 2007
 Many different ways to record music. I know one person who uses spaced cardiods 9' apart. His speakers are spaced 9' apart so they match exactly the same as the position of the microphones. Stereo width is excellent going way beyond the speakers with orchestral and concert band recordings.

 

RE: Some ramblings about mics..., posted on April 30, 2016 at 16:01:48
cdb
Audiophile

Posts: 2948
Joined: April 6, 2001
 If you can find a copy of the book referenced below, (Modern Recording Techniques/ David Huber), Chapter 4 is devoted to Microphones: Design and Technique. Other chapters may also be of interest.

Apologies if this is elementary to you, but it is a college level text. I have the 3rd edition-1989...sigh.

 

RE: What you are talking about is holographic recording..., posted on April 30, 2016 at 16:36:05
bullethead
 Ok. Never mind then. The other recordings I have were all straight to a mixing board.

Let me see if I can find a link to MP3, won't sound as good but here you go

 

RE: Some ramblings about mics and speakers., posted on April 30, 2016 at 16:36:08
Bill Way
Audiophile

Posts: 1884
Location: Toms River NJ
Joined: May 28, 2012
Contributor
  Since: December 14, 2012
 "omnidirectional mics are not good if the playback is done with traditional speaker only with frontal emission"

Sorry, have to disagree on that one. When tracking, ALL mics are heard by the engineer using conventional, moving-coil, front-firing speakers in sealed or ported boxes. You will not find dipoles or infinite baffles in any control room. The Fine's great Mercury recordings were all done with omnis, and sound terrific on any speaker. The design of the playback speakers has nothing to do with the selection or placement of mics - not ever.

You pick *and place* mics to best capture the performer, the instrument, and/or maybe the room. Cardioid pattern mics are the most common, but there are times when omnis or figure-8s do best. Omnis *or* cardioids are often used as room mics. Figure-8 mics, often ribbons, are great on hi-hat. (Sorry, I don't know what else they're used for; I've only used them on hats.) Engineers pick mics not only for the pattern, but for the frequency response around the angles of the pattern (e.g. non-flat required for Decca tree.) They will also take into account sensitivity and loudness-handling - many condenser (s/s and tube) and almost all dynamic mics can handle very high SPL; ribbons not so much.

For mic placement, there are infinite possibilities Common approaches are: close (individual instrument) micing, X-Y, mid-side, spaced omnis, Decca tree, Blumlein pair.

Don't read too much into promotional literature. Yes, cardioids are good for sound reinforcement at live performances, but omnis are often used when *recording* acoustic instruments/vocalists in a live performance in a good hall. For capturing amplified live music, close micing with dynamic and condenser cardioid mics is about the only way to go.

The technique and art of mic selection and placement can take years to learn, and is fascinating. With my 300-odd days of studio time, I've just had a glimpse of it.

WW
"Put on your high heeled sneakers. Baby, we''re goin'' out tonight.

 

RE: "Does this make sense?", posted on April 30, 2016 at 23:17:34
beppe61
Audiophile

Posts: 4705
Joined: January 29, 2004
 Hi !

" I suspect that different people will have different ideas about what constiutes good "soundstaging" in the typical two-channel home stereo system "

Not me for sure. There are specific tracks in test discs that are an extremely powerful tool to evaluate the ability of a system to render the soundstage. One is the "Walkaround" track on the Sheffield Labs/XLO disk test i have.
Needless to say that it is the only track i would keep if i had to choose one ...
The sensation of the sound coming from beyond the front wall, the walls of the room disappearing is just amazing. Never ever experienced of course in my life. In some audio fair some system were approaching that sensation.
I am trying to start my first recordings live.
I have just to find some guinea pigs playing some music.
Thanks a lot again for the very helpful advice.











Kind regards,
bg

 

RE: Well..., posted on April 30, 2016 at 23:25:34
beppe61
Audiophile

Posts: 4705
Joined: January 29, 2004
Hi !

" Many different ways to record music. I know one person who uses spaced cardiods 9' apart. His speakers are spaced 9' apart so they match exactly the same as the position of the microphones. Stereo width is excellent going way beyond the speakers with orchestral and concert band recordings "

Thank you very much indeed. This is exactly what i am feeling.
In some way mics and speakers should "mirror" each other.
I really do not understand why instead all the major audiophile labels use omnidirectional mics.
As said in the Shure brochure

" Cardioid microphones are most sensitive to sound at the front and least sensitive at the back. Their unidirectional pickup makes for affective isolation of unwanted ambient sound and high resistance to feedback when compared to omnidirectional alternatives.
Cardioid microphones are essential when considering a mic for live performance "

i should have added that my dream is to be able to make some live recordings of group of singers or unamplified instruments during village concerts. You know those amateurs groups. Some are also good.
Another way could be to use some lens on the back of the mic to stop the rear sounds.

However your words have confirmed my feelings.
Thanks a lot again.





















Kind regards,
bg

 

RE: Some ramblings about mics..., posted on April 30, 2016 at 23:37:46
beppe61
Audiophile

Posts: 4705
Joined: January 29, 2004
 Hi and thanks a lot for the very valuable advice.
I will buy it because i am very interested in recordings.
It is an activity that fascinates me a lot.
" Apologies if this is elementary to you "
i prefer this approach ... from bottom up let's say.
I am very uneducated in science even if i tried very very hard.
They gave me a degree moved by compassion.
But i had to swear that i would have never designed anything.
Thanks a lot again.

Kind regards,
bg

 

RE: Well..., posted on May 1, 2016 at 00:21:31
vinyl survivor
Audiophile

Posts: 1471
Location: Southeastern US
Joined: November 28, 2007
 Hi bg,
Glad my post was of help. For recording performances with an audience, cardiods are great for rejecting audience noises. Spaced cardiods can give an excellent sense of space. Yes, one must be careful or you can get that hole in the middle of the sound stage. Obviously omni microphones pick up more of the room.

 

RE: Well..., posted on May 1, 2016 at 00:50:02
beppe61
Audiophile

Posts: 4705
Joined: January 29, 2004
 " Hi bg, Glad my post was of help "

Hi ! very much indeed. It confirmed my idea. I am about to buy something to try some recordings but first i would like to get some basics.
I have a great interest for recording live performance of small groups.
When there is a mixer there is not much to do. Plug and record.
But when mics are involved the things get both tricky and interesting.

" For recording performances with an audience, cardiods are great for rejecting audience noises. Spaced cardiods can give an excellent sense of space. Yes, one must be careful or you can get that hole in the middle of the sound stage "

i think that this should be the most recommendable choice then.

" Obviously omni microphones pick up more of the room "

sometimes something more can be too much. Everything started from listening to omnispeakers. I was listening to an unbelievable high quality pair of MBL speakers ominidirectional.
I have never heard a cleaner sound in my life. The voice of the singer was dramatically real.
But i could not locate the singer in the space at all. The sound was coming from all around in a way that was confusing.
Because the people demoing the system were kind i ask them to play a track that i knew has a great depth in soundstage.
Again i could not locate the instruments in the space.
Instead with other monitors the transparency of the MBL system was just not approachable but bam ... the soundstage was there, deep and wide.
For me soundstage is everything.

I will buy something with cardioids for sure.
Thanks a lot again.
Kind regards,
bg

 

RE: What you are talking about is holographic recording..., posted on May 1, 2016 at 01:29:44
beppe61
Audiophile

Posts: 4705
Joined: January 29, 2004
Hi i am again in the office with HPs only.
This evening i will listen.
But i have already decided on cardioids.
Now i am thinking if to go with a portable solution (Zoom, Tascam, Roland, etc.) or two cheap but nice cardioid mics (i see Behringer offers very nice mics for very little money) plus sound card and pc.
Then i would look for amateurs groups of singers.
I like voices.
I will let you know about the recording.
Thanks for all the kind and very valuable support.
Kind regards,
bg

 

RE: "Does this make sense?", posted on May 1, 2016 at 04:18:05
genungo
 No, this does not make sense because two-channel stereo is far too dependent on trickery and circumstance, and is in fact a far less "sensible" solution to the problem of soundstaging than most any multi-channel array is.

So, I think that a multi-channel sound system would suit your needs best. Two-channel stereo can be made to do some amazing things, but if you really do value "soundstage" above all else then a properly set up multi-channel array is the way to go, at least for you.

Good luck.

 

RE: "Does this make sense?", posted on May 1, 2016 at 06:42:43
beppe61
Audiophile

Posts: 4705
Joined: January 29, 2004
Hi !
I guess you are right about multichannel being the only way to get a top quality soundstage.
Nevertheless i have heard excellent soundstages from nice stereo systems.
Almost always the biggest problem was indeed the listening room, much less than optimal.
I am stuck to 2 channel because my music collection is stereo and most of the material around is also 2 channels.
Thanks again.
Kind regards,
bg

 

" here you go ", posted on May 1, 2016 at 22:16:07
beppe61
Audiophile

Posts: 4705
Joined: January 29, 2004
Hi !
i listened to the track.
It sounds like a environmental recording.
But i could not perceive a particular sound stage.
My goal is to get the sensation to be transported in the place where the event has occurred.
Like a travel in time and space.
Thanks a lot again.

Kind regards,
bg

 

Omni mics are superior... , posted on May 2, 2016 at 06:58:34
BigguyinATL
Manufacturer

Posts: 3475
Joined: April 10, 2002



in many ways. a cardioid mic (directional) is not equally directional across all frequencies, in the same way a baffled loudspeaker is not equally directional across all frequencies. Since recording environments are not anechoic, the room energy is better represented by an omni microphone. In loudspeakers, Toole (JBL/Harmon) and others have research supporting that a smooth off axis loudspeaker response is important -(as important) as a flat on axis initial arrival.

I have been a fan and owner of many omni, dipole and other diffuse field supporting loudspeakers.


"The hardest thing of all is to find a black cat in a dark room, especially if there is no cat" - Confucius

 

Omni mics are superior... , posted on May 2, 2016 at 06:59:08
BigguyinATL
Manufacturer

Posts: 3475
Joined: April 10, 2002


in many ways. a cardioid mic (directional) is not equally directional across all frequencies, in the same way a baffled loudspeaker is not equally directional across all frequencies. Since recording environments are not anechoic, the room energy is better represented by an omni microphone. In loudspeakers, Toole (JBL/Harmon) and others have research supporting that a smooth off axis loudspeaker response is important -(as important) as a flat on axis initial arrival.

I have been a fan and owner of many omni, dipole and other diffuse field supporting loudspeakers.


"The hardest thing of all is to find a black cat in a dark room, especially if there is no cat" - Confucius

 

RE: Omni mics are superior... , posted on May 2, 2016 at 11:24:17
beppe61
Audiophile

Posts: 4705
Joined: January 29, 2004

Hi and thanks a lot for the very helpful advice.
Sorry for my late reply but i cannot find the subscription to the thread.
I have to say that i am obsessed by the soundstage.
I like when i feel the 3D effect very developed, even if it is created artificially.
I already know that the listening room plays a very fundamental role.
But also speakers and omni ... i do not know if they are the best type to get a materic and very well defined positioning of the players/instruments in the space.
Actually in the pictures of recording studios i have never seen omni used as monitor. They are usually conventional speakers.
There must be a reason.
So the next curiosity is about the best technique to capture a great soundstage.
It is true instead that almost anyone use omni microphones.
I would experiment with some shields to block the back sounds from reaching the mic like the one in the picture.
Nevertheless i would like to listen to some recordings with different mics to check which are the better for soundstage.
Thanks a lot indeed for the interesting information.
Kind regards,
bg

 

Book, posted on May 2, 2016 at 12:50:25
Inmate51
 Ha! That book was originally written by Robert Runstein, who is still listed as co-author. I bought the original version in 1975 (published in 1974). It does a good job of describing a wide variety of areas related to recording. For a person who's just getting their feet wet and want to understand the general concepts of many areas, it's a good text.

:)

 

RE: Some ramblings about mics and speakers., posted on May 2, 2016 at 21:21:27
Inmate51
 You are on the wrong track.

I'm taking a couple of days to write a proper explanation, since yours is a very important question.

For the moment, suffice it to say that this is a very complicated issue, which involves several areas of study.

Some of the replies so far are useful.

:)

 

RE: Some ramblings about mics and speakers., posted on May 2, 2016 at 21:56:09
beppe61
Audiophile

Posts: 4705
Joined: January 29, 2004
 Hi ! thanks a lot for the helpful reply.
I feel the complexity of the subject and also how challenging is the task of capturing the soundstage in a way that can be played back on just two stereo speakers.
For instance i read about the 4 channels recording and that technique is much easier to understand ... 4 mics and four speakers like Kimber method.
But i would like to stay on stereo giving up to lateral and back soundstage in the sweet spot. Only frontal emission can be enough.
Like watching the event through a window ... a wide open window.
This thing of the virtual soundstage is so exciting that i cannot describe.
Very few times i have had the experience. And also with systems that on the paper were less than optimal.
I remember in particular a system with the two speakers in the picture.
It was a weird experience because i was clearly watching these huge monsters but after a while with the system warmed up they disappear sonically ... and i felt the sound coming from a point behind them.
Unbelievable.
I was seeing them visually but not sonically.
Then the guy switched the lights off and only a wonderful soundstage remained. Very impressive .... and how dynamic !!!!!
Another time with Wilson speakers and Krell electronics i heard very clearly a triangle played two meters in front of the right speaker !!!
I really do not know why people do not pay attention only to soundstage.
The virtual soundstage is everything.
The goal must be to provide the sensation of being transported in the place where the event has happened.
Amazing.
Maybe multichannel is really the only chance ?

Speaking of headphones they have huge difficulties in reproducing sound coming from the front. Practically impossible. No chance.
Maybe with some sort of processing in the future ...
However the HPs concept is absolutely fantastic for other aspects.
Thanks a lot again.
Kind regards,
bg

 

What recording are you using to setup your room? nT, posted on May 2, 2016 at 23:13:20
M-dB
Audiophile

Posts: 295
Location: Nor Cal
Joined: June 26, 2014
 ?

 

RE: What recording are you using to setup your room? nT, posted on May 3, 2016 at 12:11:34
beppe61
Audiophile

Posts: 4705
Joined: January 29, 2004

Hi !
presently i am in a bad situation. I had to disconnect my speakers and i am listening only with HPs.
But my favorite track is "Walkaround" in this cd in the picture
The soundstage has been captured quite well i guess with just one stereo mic.
My reasoning is quite simple.
Sometimes i read about systems with excellent soundstage that they provide a window on the event. Perfect definition.
But the recording is essential. Sorry to be trivial but a system can give back the soundstage only if the soundstage is in the recording.
There are many test discs with specific tracks to test image depth and width and height.
I would be very interested to know how the best tracks have been recorded. Which mics used and how placed.
But this is part of the know-how of every great recording engineer.
Thanks a lot.

Kind regards,
bg

 

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