[Audio Empire]

On Sat, 2 Jun 2012 09:08:53 -0700, Gary Eickmeier wrote
(in article ):

"Arny Krueger" wrote in message
...
On Thu, 31 May 2012 11:05:01 -0700, Gary Eickmeier wrote


The biggest problem with this is that while the listener can partially
dereverberate the room, his ability to do so is limited. In many rooms
the many reflections from the omni speakers give you a real mess. Been
there, done that with Ohm F's. The second problem is that listeners
don't want to walk around speakers as a rule. They want to sit in
their favorite seat, so anything you invest or pay for that "walk
around" realism is lost and not appreciated. Most speakers are used in
suboptimal places in suboptimal rooms. This very much favors
directional speakers.

Hi Arn -

No, nothing I have been trying to relate favors directional speakers. We
talked about the spatial nature of speakers and rooms being audible, so that
if that characteristic is very different from live it will not, cannot,
sound the same.

Here is another paradigm for you to digest: Think of an experimenter who
wants to investigate this spatial business. He puts three omnidirectional
speakers on the stage of a concert hall, runs some pink noise thru them,
and records them. He gets back home and plays the recording on his "hi fi"
system with its highly directional speakers. But no matter how he equalizes
it, it just doesn't sound the same.

Comes the dawn, he realizes the problem. His live sound had a completely
different spatial pattern than his reproduction attempt at home. It couldn't
sound the same!

No, it couldn't sound the same, and not necessarily for the reasons you give.
First of all, unless the pink noise (defined as 1/f or, noise with equal
power density over the entire spectrum) is close-miked, the recording venue
will alter the spectrum. Secondly, and most importantly, microphones are not
flat in frequency response, so therefore when recorded, the microphones will
change the character of the noise so that it is no longer "pink".