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absorptive baffle device (our head). This creates an interference acoustic pressure field pattern (analogy like shadow, moire, and
rainbow effects all at the same time) that our brain translates into directional and dimensional information.
This is the workings of psycho-acoustics where extremely complex holographical type information is 1st sensed and then processed by
our genetically trained brain. A little more about this at: http://www.sonicstudios.com/multitrk.htm
We don't as yet have computational ability and skills to do this kind of processing in real time and our HRTF working models are
mostly too simplified for consistent synthesis in making or decoding this kind of information especially for multiple sources common in
real ambient environments.
Because we hear sounds in a general manner because of genetics, we actually want to hear recorded sounds mic'd in a similar 'preprocessed
manner.' Unfortunately, we now automatically make big concessions with hearing any kind of recorded material because of
the way the industry has NOT progressed to better understanding of recording methods for virtual reality purposes. Can't really
blame them, keeping everybody beating around the techno 'proverbial' bush sells lots of shoes and cold drinks.
Anyway, now you got me going! Let me know if I actually answered your question Richard.
Cardioids are really useful for MONO multi-track with side -rear rejection ability that reduces vocal to PA & stage monitor feedback
and reduces interferring adjacent multitracked instrument sounds when close mic'ing methods are used on stage and for studio session
work. They are mostly problem solving microphones that greatly sacrifice acoustic fidelity to avoid potential off
axis problems. Using them for stereo purposes has never worked very well; mostly very inconsistant in how schemes using such mics
record a situation in stereo.
For recording live events where acoustic quality or fidelity and a true feeling of 'being there' is important, you really don't want to use
anything but a HRTF baffled omni microphone type system.
Regards in Sound & Music Recording, Leonard Lombardo
Subject: Re: Concert Recording >From: Kirby A@my-deja.com> >Date: Sat, 13 Jan 2001 02:25:09 GMT
> >I have no doubt that everything you say is true, but the mics and baffle you suggest would be way too expensive. I may have to go
with a different mic (non-cardioid), but can't afford the omnis. > >Kirby
The most costly element for baffled omni mic system is the HRTF baffle. Replicating the acoustic response of water saturated tissue is
no easy accomplishment and the raw material costs for the LiteGUY are impressive.
However, there is a far less costly way that may be suitable for this your present project. Usually, using a baffle is a must when
working close proximity to noisy and talkative crowds common at popular music venues these days. You need to get at least 8- 10 feet
up and away from this crowd noise to get a good overall ambient mix.
In your situation, the audience may be more respectful and allow someone seated (or standing) to record just as good an ambient
sound from somewhere within the close stage to half back into the hall. This person would know how use the Sharp MD deck and
personally headwear the mics (this is a real HRTF baffle).
Head position should be facing stage forward with no looking left-right head turns, at least while recording; up-down head-mic