Quote:
Originally Posted by Electronic M
There are also many different forms of stereo mic placement, mixing, and listening that achieve different effects of spatial imagery to the listener.
We only have 2 ears but we can detect if a noise in the room with us comes from infront of us or behind us. We perceive this through the differential timing/phase at which the sound reaches each our ears and the differential timing of echoes off objects around us. In the 50's and 60's there were 'Dynaural' stereo records recorded with 2 mikes in a dummy head designed to pickup the spatiality as a human would hear it, and to only accurately convey that spatial image to someone listening with headphones.
Some stereo is captured with only 2 mikes on stage and designed to give a console listener the effect of sitting in the audience. Some stereo is created by recording each instrument to its own mono tape track then manually mixed to each channel so the engineer/producer can paint their own soundscape by controlling the volume and L/R channel distribution of each instrument on a mixing console.
In the 2 mike approach in classical music there is often back echoes off the concert hall that give a sense of spatial depth. Some consoles had built-in reverbs that could add a simulated echo to add synthetic depth.
Another thing to consider is the ability to localize sound and the ways it echoes vary with the frequency of the sound. High frequencies are easy to localize but bass especially DEEP bass is more difficult for human hearing to localize thus modern surround systems usually have 5 tiny speakers that are only good for mid-range and treble, and direct all the bass to a single large subwoofer.
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I was thinking something along these lines and you put it in words for me. I'm a wet newbie to understanding recording theory, engineering and mastering theory and connecting them to the musical concepts I have learned in my degrees.
There is a section I am teaching focused on Music Production. Since my training is so classically focused, I'm trying to learn the foundational principles on my own. What I would like to do is have a deep enough understanding of each step from content/media creation and mastering, recording live, equipment theory and design, and construction of recording and reproduction devices so that I can develop curriculum that can be interpreted at various musical, or non-musical levels for my students.
There is so much to trim and make age appropriate that I am just beginning to understand (first-year teacher) how easy it is to overteach!
I want to include how to interpret and appreciate the analog world as much as the digital world, of which again I didn't major in media and sound engineering, it is music education! I'm the kind of person that craves the whole experience and understanding of every level of any passion or hobby I may have. Specific to music, fortunately I also teach music theory and orchestra so this is balanced elsewhere.