[KH]

On 6/17/2012 6:34 PM, Audio Empire wrote:
On Sun, 17 Jun 2012 12:59:06 -0700, KH wrote
(in ):

On 6/13/2012 4:47 PM, Sebastian Kaliszewski wrote:
KH wrote:
On 6/12/2012 8:20 PM, Sebastian Kaliszewski wrote:
KH wrote:

snip

So add a second microphone, and you have the same signals recorded from
a different position in space. As long as you know the microphone
positions, its easy to determine the relative positions of the two
instruments, aurally or mathematically. Yet when you add in the effects
of the reverberant sound field you have a whole new set of signals of
varying strengths and arrival times, and thus phase differences. As a
listener, in place of the microphones, even minor head movements allow
you to localize the instruments by sampling different angular
presentations (i.e. the HRTF effect) and analyzing multiple wave fronts.
This depth of information is simply not captured in a stereo recording.

Sure it is. It's capture by only two mikes (ideally), but in the right
circumstances, that's enough.

How is it captured? I'm not referring to *soundstage* depth, clearly
that only requires two mics, rather I'm talking about information
density. A listener, with only minute head movements, samples a number
of different wavefronts, providing an information density much greater
than that achieved by any fixed recording setup, whether stereo,
multichannel, or binaural.

That is the information that is missing; that's the information that
allows us to establish accurate positional data.

I maintain that in a properly made recording, it's not missing.

I believe the information to which I'm referring is missing from the
recording. Where, in a stereo recording, is information from multiple
wavefronts, both normal and off-angle, recorded?

There is no doubt that there is sufficient information in a stereo
recording to create a left/right soundstage, as well as depth
localization, and at least an illusion of height, although I admit I
don't have a firm geometric/visual conception of quite how that is achieved.

But the ability to sample a virtually endless number of stereophonic
(relative to listener reception) wavefronts, available to an audience
member, does not translate to a recording made from any fixed perspective.

If I'm missing something here, feel free to enlighten me. As I stated
previously, I don't claim any special expertise in recording
technologies. But many things in our hobby do not require such
expertise to understand.

Keith