[Gary Eickmeier]

On Tue Jun 19 02:20:16 2012 KH wrote:

On 6/18/2012 4:46 PM, Audio Empire wrote:

On Mon, 18 Jun 2012 03:39:56 -0700, KH wrote (in

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 you accept the premise, then your conclusion is correct. However

from my knowledge and experience, I find that your premise isn't

correct.



Ignoring threshold effects, I don't see how it could not be correct.

Not in the sense of different overall soundfields intertwined in the

venue, but rather different stereophonic interpretations of the overall

soundfield when evaluated from different incident angles. It's fairly

obvious that when you look ahead, look at the right wall, then look at

the left wall, the sound changes significantly.



I have told you that it doesn't work that way. You are setting up a new
sound field within your listening room. If it is done right, then you can
turn your head all you want within that new field, with similar results to
those you get live. I routinely "see" instruments in my listening room, and
can turn my head in subtle movements toward those sounds just as in the live
venue.

It is not a head related system. The resultant sound need not be from a
fixed perspective. Example, the center channel with dialog for movies, or a
solo singer for stereo. You can go anywhere in the room and it will stay
where it belongs, and be perceived where it belongs, and you can turn toward
it as you please, just as you can toward a left or right channel sound, or
anything in between.



Gary Eickmeier