phillip holmes wrote:
> You can say the same about listening environments as recording. There's a
> "just right" with a listening room. I've heard just as many that were too
> dead as too live. I wish I had studied acoustics in college. It seems that
> diffusion is the key to good sound. Kind of like that beautiful sound in an
> old growth forest where the sound echoes off the trees.
Can't resist asking..if there's nobody there to hear it, do the sounds just go
"Ah nuts, nobody's listening?"
> And there's
> something spooky about those places too. Must be the "there's a Barr, I
> mean a bear, in there somewhere" part of our brains being on guard.
You were right the first time.
dl (who, it must be admitted, hasn't been in Barr's current abode but fondly
remembers an earlier one with floor-to-ceiling records)
> > The odd thing is that no one ever seemed to discover that a much more
> > realitic-sounding recording could have been made if they had only used
> > acoustically "live" spaces instead of relentlessly eliminating any
> > trace of echo/reverberation! Listen to Waring's "Freshie"...which was
> > cut in an acoustically live setting (probably much to Victor's dismay!)
> > and as a result sounds very much like stereo. Our brains expect echoes
> > and are set up to extract a lot of information therefrom...in all
> > probability, our ancestors who could figure out which tree the bear
> > was hiding behind survived to evolve, while those that couldn't didn't...
> > Steven C. Barr