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Eeyore wrote:
wrote:
Both sound like real "instruments" to me. However, by
miking so closely low frequency components are picked
up that would normally not be heard or recorded in an
orchestral setting. Arny's triangle recording is not al
all how a triangle sounds a few feet or more away. It's
similar to the bass cancelation of dipolar speakers at
normal distance due to the front and back waves
meeting. However if you put a microphone right next to
the speaker diaphragm of such a speaker the mike will
pick up the bass full strength. Sorry I'm not more
eloquent in my description.
I assume you mean the proximity effect that occurs with
pressure gradient ( directional ) mics as opposed to
pressure operated.
Not applicable. The online doc for the pre-downsampling version of
recording is posted at:
http://www.pcabx.com/technical/sample_rates/index.htm
"24 bit 96 KHz "reference" samples were made by using 2 B&K 4007 1/2"
condenser microphones powered by an Audio Technica phantom power unit,
preamplified using a Benchmark Media mic preamp, and recorded using a CardD
Deluxe in a 800 Mhz Pentium 3 computer located in another room. They were
closely miced on-axis in a fairly small dead space. Therefore the transients
are very well-defined and harmonic-rich, technically speaking. They also
have relatively low amounts of background noise (mostly acoustic). They may
sound quite "dry" to your ears."
B&K 4007 are small omnidirectional measurement mics. About $2500 a pair.
Further information about this recording is near and in figures 11 & 12.
No, I mean if you (lightly!) strike a triangle or bell or
iron skillet etc. an inch from your ear the low frequency
components will be more prominent than if you strike it
at arms length. There are tones in that triangle file
that simply would not be heard at all from 10 feet away.
I'm still struggling to determine what the mechanism would be for this.