Sound travels faster thru solids - recall the ol' indian ear-on-the-rail thing? Typically, bass is pretty much omnidirectional below about 80-100 - the entire structure begins moving.ĭuring studio construction one of the things we do with infinite baffle/soffit mounting designs is to isolate the cabinets from the structure to minimize early energy transfer - this keeps the structure from transmitting bass faster than air to the mix location. I wrote this a while ago on the Hoffman forum: There's been many a patent that discusses trying to get headphones to accurately mimic human hearing and it's interaction to the environment ForĬommercial applications where localization does not need such accuracy, an average HRTF can be Other cues such as head movements and learning may also help in sound localization. The ability to accurately reproduce elevation localization may be a problem for aircraft Virtual auditory space can be generated through headphone delivered stimulus, they are still lacking some
Although Wightman & Kistler have shown that a Localization than that proposed by the duplex theory. "Clearly, localization is not isolated to simply the sounds heard. Nothing like what you hear out in the hall.Īs to headphones, they fail to take into consideration head related transfer/impulse functions and the auris externa - see the lectures from Dr Land at Cornell below. All you hear is brass and percussion, depending on what section you're standing in. And what's real interesting is that on stage it sucks too. The acoustical power output of 102 people playing a fortississimo on something like Copeland's Rodeo is not within reach of any system I've ever heard. Even the recording done using the various mic trees and such. The also make various others like the Hemiffussor - you'll see this on one of the late night talk showsĪfter spending a lot of time doing sound with the Pittsburgh Symphony Orchestra outdoors for their Point State Park gigs, there's nothing like hearing them in a place like Heinz Hall or Carnegie - even with artificial reverb systems (we tried - had telephone poles in the park for them) Sucked real bad. View attachment 50737 View attachment 50738 The front with the far field speaker doghouses was deadened with something like Sonex, the rear of the room was treated using RPG Diffusors. One of the big things in recording studio control room design was LEDE - Live end, dead end. Constellation allows you to start with a totally dead room and play around getting the exact amount of reverberation you want to make sound from the next table over unintelligible while setting a limit on how loud the space gets. No acoustic treatment and the restaurant will get too loud very fast. The idea is that if you make the restaurant totally dead acoustically it will be too quiet and a table will overhear conversation from the next table over.
"Constellation is used for a different purpose in the restaurants - there, it is essentially a fancy sound masking system. They REALLY need to be aware of this before making a large financial mistake. Yes these type of systems can help congregational singing when the room is dead.īut putting them in a live room is a TOTAL waste of money.Īll they can do is make a bad situation worse. You CANNOT take away existing reflections (reverb).
"I have been involved in installation of several of these type systems and used to have the only portable VRAS (which is what the Constellation was called before Meyer bought it and put a new name on it) that we used to take around for demos.įor any of these type systems (there are several manufacturers who have this type of system-and each has advantages and disadvantages), the room has to be DEAD-NOT LIVE. This is interesting - similar to what I experienced - from: I recall seeing that and the Lexicon thing years ago.