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RE: I believe

I guess no one got my point about reflections off the stage floor. If you want to think of it, this creates the equivalent of a phantom pair of microphones at a different height. A pulse close to the floor will be doubled with one spacing and a pulse higher up will be doubled with a different spacing. (Looking at one channel. The numbers will be different with the opposite microphone unless the sound was centrally located.) This effect will work over a limited range of height, depending on the size of the venue, position of the microphones, etc. But then, looking at an actual instrumental layout there isn't that much height in the first place when it comes to location of the instruments.

By looking at sound files of recordings of percussive instruments one can sort out these reflections. There will be height information that can be deduced by observing variations in time of first echo. This is one way that humans get positional location. Another way, head related transfer functions, won't work with two microphones in a plane and speakers in a plane. Another way is by brightness, but then one gets into the interaction of instrument radiation patterns and microphone patterns.

There are very strong evolutionary reasons for humans and other animals to have very robust positional location skills, and this undoubtedly means using many different ways to build a model of a sonic landscape. There are probably other ways that have yet to be discovered, but what I mention is well known to sonar engineers and operators, recording engineers, and non dogmatic audiophiles.


Tony Lauck

"Diversity is the law of nature; no two entities in this universe are uniform." - P.R. Sarkar


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