[Gary Eickmeier]

"Tom McCreadie" wrote in message
...
John Williamson wrote:

On 09/11/2014 14:06, Tom McCreadie wrote:

My (probably mistaken) impression is that Gary takes the Lissajous blob
pattern
to be a sort of helicopter snapshot of the audiotorium - giving info on
the
relative strengths of the signals that arrive at the mics from different
directions of the 360° circle..and thus dictating the need for playback
speakers
to be delivering sound from the same direction.

The channel phase display in Audition 3 can be set to do that. Or a
number of other things, depending on what works best for you and the
track.
The bottom "Inverse" hemisphere of the Audition 3 Phase Analysis display
is
occupied by signals where the L and R channel mic signals are of opposite
algebraic sign (the lower left quadrant being for the signals where the
_absolute_ voltage value of the L is greater than that of the absolute R
value.
The greater the L becomes w.r.t. the R, the closer the display-point
shifts up
to the left horizontal axis.
But why should there be a simple mapping between all that and the specific
direction of sounds coming in from rear auditorium quadrants?
--
Tom McCreadie

Simply because Dolby Pro Logic and similar surround decoders use the out of
phase information to decode sounds to the sides and rear. If there are no
such sounds in the stereo recording, then you will be disappointed in the
ambience effects when playing in surround. Just an additional check on the
final result of all of your miking setup and the nature of the resultant
recording. Best example may be MS recordings and how to balance M and S in
the final mix. I have not used it for that yet, but then I have just
discovered this window in Audition!

Gary