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Post by marcl on Feb 7, 2021 13:22:42 GMT -5
line source / Maggies don't radiate much to the ceiling OR floor......or the sidewalls. They are fairly 'beamy' as frequency goes up. The ribbon probably doesn't interact with the side walls at more than 20db down from primary response. Front / rear waves of such panels CANCEL basically at the plane of the panel edges. You can easily TEST this by moving your ear front / back and note the 'null' right at the panels edge. CLOSE the other ear, please! Here is the STEREOPHILE measurement panel from the new LRS speakers. Others should behave in a similar manner. Magnepan hasn't doesn't anything 'big' in 40 years, but has instead refined and improved. www.stereophile.com/content/magnepan-lrs-loudspeaker-measurementsIn the Rooze arrangement, I have used absorbers to block the front wave and the back wave to see how much above the bass makes it around the edge of the speaker to the side. With the edge of the speaker pointing at the MLP and the main sound coming from the bounce from the side wall, there is still interaction of the "primary" front and rear wave at the sides ... yes, albeit significantly attenuated in the higher frequencies. But with the Rooze you also have to contend with this ... the rear wave from each speaker can cross the room and bounce off the opposite wall. I had a measurable 18ms reflection in the right ETC which I tracked to originating as shown in this diagram. I stopped it with an absorber at the X. the left had no such issue because the reflection went out the door!  |
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Post by leonski on Feb 7, 2021 15:15:02 GMT -5
Is that With or WithOut the DWM mid-bass drivers working?
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Post by marcl on Feb 7, 2021 15:37:30 GMT -5
Is that With or WithOut the DWM mid-bass drivers working? DWM's are working. And at the moment they are positioned about 2ft forward of the location shown in the other diagram so the initial short positive wave aligns with the 3.7 better.  |
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Post by marcl on Mar 13, 2021 9:41:58 GMT -5
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Post by Gary Cook on Mar 13, 2021 19:29:17 GMT -5
What you have is what I call an Artifact. It would be difficult or maybe impossible to transfer what you learned to others. And few will go to that kind of trouble..... My question remains, but could probably be answered by watching a movie or listening...... What is a good reference movie? Any fans of Burce Willis in 'The Fifth Element'? Or even a good copy of 'Forbidden Planet'? I'd even settle for one of the horse race scenes from 'Seabiscuit'..... Several other entries in the 'good sound' and effects sweepstakes. You choose! Another Ridley Scott movie I find that has a better soundtrack than Blade Runner is Gladiator, it’s DTSX and the Colosseum scenes are amazing. Cheers Gary |
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Post by leonski on Mar 13, 2021 22:12:16 GMT -5
What about the ALL ELECTRONIC Soundtrack for Forbidden Planet? Some of those effects and the images have never been topped......
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Post by marcl on Jun 15, 2021 4:07:38 GMT -5
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Post by marcl on Aug 4, 2021 11:24:35 GMT -5
Mental-floss! I spent three days at Newport Jazz Festival listening to music ... 6 hours a day! It's an outdoor venue at Ft Adams State Park, Newport, RI. When I listen to live music I notice when it sometimes sounds good and sometimes not so good, and I try to understand why. I want to know, well just because I want to know ... but also to correlate what live music sounds like compared to how it sounds in my room at home (and these days it almost always sounds better at home!). Now, I'm a drummer so I have heard what live music sounds like from within a band, and often without amplification. I know what instruments sound like. In today's world when we listen to live music we're listening to music played through speakers mixed by a sound engineer. At home we listen to recorded music (that was mixed by a sound engineer listening to speakers in a room) that is now being played through speakers in our room. At least at a live concert we and the sound engineer are listening to the same speakers in the same venue. At live concerts sometimes I do a measurement with my phone, either just SPL level or sometimes with an FFT app that shows the frequency spectrum. Just a quick look to quantify and correlate ... what do I hear and what does the measurement show. So at Newport I did a few measurements, and even talked to a sound engineer once to gain a better understanding of why some bands sounded totally different from others on the same stage with the same sound equipment. I observed three general scenarios: very good and well-balanced sound; sound with one overbearing instrument that masked others, typically a bass drum or acoustic/electric bass; sound with all of the bass boosted together into an indistinct boom, usually also at very high overall SPL. Since at a live outdoor concert you also hear the sound check for each band, some additional information is available to understand why it sounds the way it does. I concluded two things: what I heard was what the sound engineer heard; what I heard - for better or worse - was what he intended for the audience to hear. Now for some examples .... Arturo O'Farrill's Latin jazz quintet opened the weekend on Friday. Acoustic quintet with piano, double bass, drum set, percussion and trumpet. One would expect a flat frequency response with all instruments in balance, right? Well during the sound check as the drummer hit each drum and the sound guy adjusted levels, I observed a strange thing ... when he got to the bass drum, the sound guy turned up the mic level until it fed back and then lowered it just to the threshold. Most people tune their bass drum between 40 and 60Hz and have some sort of muffler to limit ringing (I like mine on the low side, muffled) but some jazz drummers like a higher pitch and a bit more resonance. This drummer had his bass drum tuned to 79Hz and a bit resonant. And so for the entire hour set, every time he hit the bass drum there was a loud BOOM at 79Hz that lasted a couple seconds. The double bass was hard to hear to begin with, but when the bass drum played the bass was inaudible. I confirmed that this response was the same where I was seated 100ft from the stage, and at several locations walking around, including right next to the mix board. Here's the evidence:  Someone might say this is "what the artist intended". Not likely. As a jazz musician I'll say it makes no sense. But further, the stage mix is completely different and I was told by another sound engineer that they set up the system with a bass cancellation node at the stage and a "power node" out in the audience. The band hears the monitor mix, not the house mix. I observed the bass drum-only anomaly with one other band, this time at 67Hz.  In this case as with the first, I heard the sound guy intentionally turn the bass drum up during the sound check. I'll mention here that these examples were at the large stage with the stone wall of Ft Adams behind the stage. There is a smaller stage inside the fort, surrounded by stone walls that are hundreds of feet from the listening area. I did not observe the bass drum boom anomaly at the interior stage. Here's an example of sound that clearly had a bass house curve applied. All instruments had their bass boosted at least 10db above the rest of the mix. And let's not talk about our perception of bass below reference levels a la Fletcher-Munson ... these are sustained average levels at 90db with peaks to 105db! Far in excess of reference level by any definition.  Here are two more examples of house curves applied to the bass. Not as extreme, but to my ear very out of balance and definitely with the bass masking some of the instruments. One of these was at the interior stage where, earlier in the day, I had heard three bands with excellent sound ... and I complimented the engineer. When I returned and heard the boom, there was a different guy mixing.   When listening to these very loud mixes I wore ear plugs that attenuate about 10db without changing the frequency response. But in a couple cases the bass boom was so distracting I left and went to the other stage. Bottom line .... this is just information and observation; and, it illustrates my ongoing (and unfortunately increasing) dissatisfaction with listening to live music. Between extreme house curves and loudness wars, true high fidelity in music listening is becoming ever more elusive. |
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KeithL
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Post by KeithL on Aug 4, 2021 12:00:08 GMT -5
Some people just LIKE bass that "punches you in the gut"...
I tend to listen to classic rock and modern symphonic metal a lot of the time... Some concert venues sound quite good... but others clearly achieve one major goal... BEING LOUD !.
And, from my experience, when it comes to rock or heavy metal, most clubs sound pretty bad...
(And, as a result, I have no desire whatsoever to have my home system "reproduce the live listening experience" - because it usually isn't worth reproducing.)
As I've said before... Many audiophiles do not actually want their home system to reproduce the original performance or what the recording engineer actually heard in the studio... What they really want is for their home system to sound like what they imagine the live performance, or the sound in the studio, should have sounded like... (And, quite often, that's not much like what is present in the actual recording at all.)
Mental-floss! I spent three days at Newport Jazz Festival listening to music ... 6 hours a day! It's an outdoor venue at Ft Adams State Park, Newport, RI. When I listen to live music I notice when it sometimes sounds good and sometimes not so good, and I try to understand why. I want to know, well just because I want to know ... but also to correlate what live music sounds like compared to how it sounds in my room at home (and these days it almost always sounds better at home!). Now, I'm a drummer so I have heard what live music sounds like from within a band, and often without amplification. I know what instruments sound like. In today's world when we listen to live music we're listening to music played through speakers mixed by a sound engineer. At home we listen to recorded music (that was mixed by a sound engineer listening to speakers in a room) that is now being played through speakers in our room. At least at a live concert we and the sound engineer are listening to the same speakers in the same venue. At live concerts sometimes I do a measurement with my phone, either just SPL level or sometimes with an FFT app that shows the frequency spectrum. Just a quick look to quantify and correlate ... what do I hear and what does the measurement show. So at Newport I did a few measurements, and even talked to a sound engineer once to gain a better understanding of why some bands sounded totally different from others on the same stage with the same sound equipment. I observed three general scenarios: very good and well-balanced sound; sound with one overbearing instrument that masked others, typically a bass drum or acoustic/electric bass; sound with all of the bass boosted together into an indistinct boom, usually also at very high overall SPL. Since at a live outdoor concert you also hear the sound check for each band, some additional information is available to understand why it sounds the way it does. I concluded two things: what I heard was what the sound engineer heard; what I heard - for better or worse - was what he intended for the audience to hear. Now for some examples .... Arturo O'Farrill's Latin jazz quintet opened the weekend on Friday. Acoustic quintet with piano, double bass, drum set, percussion and trumpet. One would expect a flat frequency response with all instruments in balance, right? Well during the sound check as the drummer hit each drum and the sound guy adjusted levels, I observed a strange thing ... when he got to the bass drum, the sound guy turned up the mic level until it fed back and then lowered it just to the threshold. Most people tune their bass drum between 40 and 60Hz and have some sort of muffler to limit ringing (I like mine on the low side, muffled) but some jazz drummers like a higher pitch and a bit more resonance. This drummer had his bass drum tuned to 79Hz and a bit resonant. And so for the entire hour set, every time he hit the bass drum there was a loud BOOM at 79Hz that lasted a couple seconds. The double bass was hard to hear to begin with, but when the bass drum played the bass was inaudible. I confirmed that this response was the same where I was seated 100ft from the stage, and at several locations walking around, including right next to the mix board. Here's the evidence: View AttachmentSomeone might say this is "what the artist intended". Not likely. As a jazz musician I'll say it makes no sense. But further, the stage mix is completely different and I was told by another sound engineer that they set up the system with a bass cancellation node at the stage and a "power node" out in the audience. The band hears the monitor mix, not the house mix. I observed the bass drum-only anomaly with one other band, this time at 67Hz. View AttachmentIn this case as with the first, I heard the sound guy intentionally turn the bass drum up during the sound check. I'll mention here that these examples were at the large stage with the stone wall of Ft Adams behind the stage. There is a smaller stage inside the fort, surrounded by stone walls that are hundreds of feet from the listening area. I did not observe the bass drum boom anomaly at the interior stage. Here's an example of sound that clearly had a bass house curve applied. All instruments had their bass boosted at least 10db above the rest of the mix. And let's not talk about our perception of bass below reference levels a la Fletcher-Munson ... these are sustained average levels at 90db with peaks to 105db! View AttachmentHere are two more examples of house curves applied to the bass. Not as extreme, but to my ear very out of balance and definitely with the bass masking some of the instruments. One of these was at the interior stage where, earlier in the day, I had heard three bands with excellent sound ... and I complimented the engineer. When I returned and heard the boom, there was a different guy mixing. View AttachmentView AttachmentWhen listening to these very loud mixes I wore ear plugs that attenuate about 10db without changing the frequency response. But in a couple cases the bass boom was so distracting I left and went to the other stage. Bottom line .... this is just information and observation; and, it illustrates my ongoing (and unfortunately increasing) dissatisfaction with listening to live music. Between extreme house curves and loudness wars, true high fidelity in music listening is becoming ever more elusive. |
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KeithL
Administrator
Posts: 10,274
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Post by KeithL on Aug 4, 2021 12:32:12 GMT -5
One of the more interesting "issues" is what our brains do with those reflections.
If you measure the room response using a pink noise generator and a meter or RTA you'll obviously get the summed response... And, if you use some sort of windowed measurement, and set a short window time, you can exclude the reflections and get a "pseudo-anechoic" response including only the direct sound... (You can exclude those 22 msec reflections from the measurement by "closing the measurement window" after 10 msec.)
We also like to model how our brains work very simply... "Sounds we hear more than 50 msec after the initial sound are heard as echoes; sounds that arrive withing 10 msec sound like part of the same sound but may make it seem indistinct." However the reality is far more complicated... and our brains are able to discern far more differences than that...
For starters, when we listen to music, we rarely hear a nice distinct sound... Instead there is "a lot of stuff going on at all different frequencies"...
And, under those circumstances, that simple model doesn't always work very well...
Instead you have a whole bunch of different echoes, arriving at different times, and mixed in with other sounds, and other echoes... And you not only get echoes, but echoes of echoes, and echoes of echoes of echoes... (That's why, if a certain room has an especially long RT60 over a certain range of frequencies, those frequencies may tend to "build up" over several seconds from certain instruments.)
And, while some instruments produce a nice simple "train of harmonics", the sound produced by some others is more like a burst of noise at specific frequencies.
(A noise burst has a spectrum, and an envelope, but no specific list of distinct harmonic components.)
All of this complexity that exists in real music makes it virtually impossible to accurately model how our brain is going to interpret the situation...
And, of course, in commercial recordings, there are even weirder and more interesting things going on... For example what you hear as " a drum" may actually be a mix of the sound being picked up by one microphone right above the drum set, one inside it, and one five feet away in front of it... And there may also be a little bit of sound being mixed in from "the room ambience mic" halfway back near the ceiling... And that drum could be entirely synthetic... or the room ambience could have been created artificially by a computer program...
And the engineer may even be using fancy advanced stuff like "ducking"... (Ducking is where, when you want a sound or voice to stand out, the mixing software automatically drops the levels on the other instruments while that sound is playing.) So, if you want your drum to have more punch, you can program your console to "duck" the other channels, from a split second before each drum beat, to a split second after the drum beat.
(And, since editing is no longer done in real time, you actually can program editing software to listen for the drum beats, then start doing something a fraction of a second before each one...)
So sometimes, when you think you hear weird stuff like that happening, you aren't imagining it. And things can get very weird when a recording is made from multiple tracks, recorded in different rooms, at different times, with different room ambience.
(And quite possibly some totally artificial ambience thrown in for good measure.)
Curious more than anything, but when you compared the "difference between center & LR" above, where the (center) tweeters, or mids/tweeters at the same height as the LR? Sounds like an axis or dispersion difference based on the location of the source sound. I could totally be way off here as well. Just a thought. ☺ It's way more complicated. The L/R have 5ft long ribbon tweeters standing vertically, but bouncing off the side walls at a fairly steep angle toward the MLP. The center is also a Magnepan dipole, but the voice coil is horizontal and only two feet wide, and "quasi-ribbon", not ribbon. What I think is happening is the center speaker plays directly at the couch and the sound bounces off and hits the mic with a very short delay. But it also goes past the mic to the back of the room, reflects and returns. I can see that reflection in the ETC around 22ms ... the time for the round trip to the back of the room! Those reflections don't cause a big problem ... just some ups and downs around 300-500Hz. View Attachment |
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Measuring
Aug 6, 2021 10:12:22 GMT -5
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Post by 405x5 on Aug 6, 2021 10:12:22 GMT -5
Some people just LIKE bass that "punches you in the gut"...
I tend to listen to classic rock and modern symphonic metal a lot of the time... Some concert venues sound quite good... but others clearly achieve one major goal... BEING LOUD !.
And, from my experience, when it comes to rock or heavy metal, most clubs sound pretty bad...
(And, as a result, I have no desire whatsoever to have my home system "reproduce the live listening experience" - because it usually isn't worth reproducing.)
As I've said before... Many audiophiles do not actually want their home system to reproduce the original performance or what the recording engineer actually heard in the studio... What they really want is for their home system to sound like what they imagine the live performance, or the sound in the studio, should have sounded like... (And, quite often, that's not much like what is present in the actual recording at all.)
Guilty as charged! I also came to the realization many years ago that a LIVE performance captured and re-created at home is a pipe dream (for the most part). The exceptions currently put my Blu-ray/DVD at roughy 35 percent good to great and the remaining 65 percent are awful 😣. Many of those have merit that goes beyond the Walmart audio quality. I don’t wish to start reviewing concerts here. The point goes towards yours, in that I used to “doctor” those with processing modes available from my old Sunfire to get that vision running around in my brain 🧠 of what I felt the ambience should be like. Accurate…..perhaps not. Fun? You bet. |
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Post by monkumonku on Aug 6, 2021 12:42:32 GMT -5
Some people just LIKE bass that "punches you in the gut"... I tend to listen to classic rock and modern symphonic metal a lot of the time... Some concert venues sound quite good... but others clearly achieve one major goal... BEING LOUD !.
And, from my experience, when it comes to rock or heavy metal, most clubs sound pretty bad...
(And, as a result, I have no desire whatsoever to have my home system "reproduce the live listening experience" - because it usually isn't worth reproducing.)
As I've said before... Many audiophiles do not actually want their home system to reproduce the original performance or what the recording engineer actually heard in the studio... What they really want is for their home system to sound like what they imagine the live performance, or the sound in the studio, should have sounded like... (And, quite often, that's not much like what is present in the actual recording at all.)
I agree, our idea of "live" music is whatever our minds tells us what it ought to sound like. And as for "live" there are a bunch of different venues whose acoustics differ widely from each other, not to mention the equipment the band has and how it is mixed. This YouTube of Donny Hathaway is my idea of what "live" is like when at a club or small venue. The room plays a large part in the way it sounds. And it sounds nothing like the typical engineered recording that was made in a studio from multiple tracks and takes. The music in this video has life in it and sounds live, even if it doesn't match the carefully-crafted, engineered studio recordings that are put out today. But does this satisfy what people are looking for when they say they want a recording to sound "live?" |
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Post by marcl on Jan 30, 2022 18:35:06 GMT -5
Chasing some ideas on interaural crosstalk cancellation and the effect of the head-related transfer function on imaging, and maybe even Dirac corrections. But wait, wait ... what shall we name it? And no, it can't be Yorick because that's for skulls   |
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ttocs
Global Moderator
I always have a wonderful time, wherever I am, whomever I'm with. (Elwood P Dowd)
Posts: 8,168
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Post by ttocs on Jan 30, 2022 19:09:09 GMT -5
Some people just LIKE bass that "punches you in the gut"... I tend to listen to classic rock and modern symphonic metal a lot of the time... Some concert venues sound quite good... but others clearly achieve one major goal... BEING LOUD !.
And, from my experience, when it comes to rock or heavy metal, most clubs sound pretty bad...
(And, as a result, I have no desire whatsoever to have my home system "reproduce the live listening experience" - because it usually isn't worth reproducing.)
As I've said before... Many audiophiles do not actually want their home system to reproduce the original performance or what the recording engineer actually heard in the studio... What they really want is for their home system to sound like what they imagine the live performance, or the sound in the studio, should have sounded like... (And, quite often, that's not much like what is present in the actual recording at all.)
I agree, our idea of "live" music is whatever our minds tells us what it ought to sound like. And as for "live" there are a bunch of different venues whose acoustics differ widely from each other, not to mention the equipment the band has and how it is mixed. This YouTube of Donny Hathaway is my idea of what "live" is like when at a club or small venue. The room plays a large part in the way it sounds. And it sounds nothing like the typical engineered recording that was made in a studio from multiple tracks and takes. The music in this video has life in it and sounds live, even if it doesn't match the carefully-crafted, engineered studio recordings that are put out today. But does this satisfy what people are looking for when they say they want a recording to sound "live?" I really don't know how I missed this post before!!!! This and The Ghetto are two of my all time favorites!! I first heard these songs on WSDM Chicago (the all ladies dj station playing soul and jazz mainly, with some jazz/rock mixed in) while listening late at night with headphones on our family's first stereo that I absconded to my room. So yes, I'm in total agreement of how good this album is, as recorded. Need more like it. Gave me goose bumps then, and still does today. |
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Post by thezone on Jan 30, 2022 22:44:02 GMT -5
I agree, our idea of "live" music is whatever our minds tells us what it ought to sound like. And as for "live" there are a bunch of different venues whose acoustics differ widely from each other, not to mention the equipment the band has and how it is mixed. This YouTube of Donny Hathaway is my idea of what "live" is like when at a club or small venue. The room plays a large part in the way it sounds. And it sounds nothing like the typical engineered recording that was made in a studio from multiple tracks and takes. The music in this video has life in it and sounds live, even if it doesn't match the carefully-crafted, engineered studio recordings that are put out today. But does this satisfy what people are looking for when they say they want a recording to sound "live?" I really don't know how I missed this post before!!!! This and The Ghetto are two of my all time favorites!! I first heard these songs on WSDM Chicago (the all ladies dj station playing soul and jazz mainly, with some jazz/rock mixed in) while listening late at night with headphones on our family's first stereo that I absconded to my room. So yes, I'm in total agreement of how good this album is, as recorded. Need more like it. Gave me goose bumps then, and still does today. I agree that this song and in fact whole album is superb in everyway, song writing, musicianship and sound, but.................. there is no way has this not been fettered in a recording studio. When all the people start clapping accented 16th notes in unison on The Ghetto? C'mon, there's no way that is just a raw recording from da club in 1971! This is also one of my favourite albums, never gets tired, always makes you feel good, its a window into the simplicity of yesteryear. Its like musical yoga for the soul. Whoops I just realized that I am way off topic in this thread sorry! |
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Post by fbczar on Jan 31, 2022 0:08:42 GMT -5
Chasing some ideas on interaural crosstalk cancellation and the effect of the head-related transfer function on imaging, and maybe even Dirac corrections. But wait, wait ... what shall we name it? And no, it can't be Yorick because that's for skulls  <button disabled="" class="c-attachment-insert--linked o-btn--sm">Attachment Deleted</button> Sometimes you scare me. |
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ttocs
Global Moderator
I always have a wonderful time, wherever I am, whomever I'm with. (Elwood P Dowd)
Posts: 8,168
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Post by ttocs on Jan 31, 2022 0:38:22 GMT -5
Chasing some ideas on interaural crosstalk cancellation and the effect of the head-related transfer function on imaging, and maybe even Dirac corrections. But wait, wait ... what shall we name it? And no, it can't be Yorick because that's for skulls How about Secret Agent 13? In almost all appearances in Get Smart we only get to see his head while he is staked out in vending machines, an airport locker, under a sofa cushion, or in one episode, a small safe where Max notes that the safe is awfully small, Max asks 13 how he got in there. 13 tells him the Chief gave him the combination. |
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Post by marcl on Jan 31, 2022 7:58:38 GMT -5
Chasing some ideas on interaural crosstalk cancellation and the effect of the head-related transfer function on imaging, and maybe even Dirac corrections. But wait, wait ... what shall we name it? And no, it can't be Yorick because that's for skulls How about Secret Agent 13? In almost all appearances in Get Smart we only get to see his head while he is staked out in vending machines, an airport locker, under a sofa cushion, or in one episode, a small safe where Max notes that the safe is awfully small, Max asks 13 how he got in there. 13 tells him the Chief gave him the combination. That's a good one ttocs . And yes fbczar, I scare myself too ... usually at 4am when I come up with these ideas. Contenders so far are Aurick, Corky and Agent 13. Now a little more back story .... My Magnepan 3.7s are in the Rooze configuration where direct sound bounces off the side walls. This also potentially allows some rear wave to get directly forward of speakers and be heard either directly or by reflection off side walls forward of the speakers. I'm using the head to block sound from one side in order to isolate secondary waves and potentially use absorbers to stop them. The goal being to improve imaging overall, and to allow Dirac to work more effectively. |
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Post by fbczar on Jan 31, 2022 12:01:41 GMT -5
How about Secret Agent 13? In almost all appearances in Get Smart we only get to see his head while he is staked out in vending machines, an airport locker, under a sofa cushion, or in one episode, a small safe where Max notes that the safe is awfully small, Max asks 13 how he got in there. 13 tells him the Chief gave him the combination. That's a good one ttocs . And yes fbczar, I scare myself too ... usually at 4am when I come up with these ideas. Contenders so far are Aurick, Corky and Agent 13. Now a little more back story .... My Magnepan 3.7s are in the Rooze configuration where direct sound bounces off the side walls. This also potentially allows some rear wave to get directly forward of speakers and be heard either directly or by reflection off side walls forward of the speakers. I'm using the head to block sound from one side in order to isolate secondary waves and potentially use absorbers to stop them. The goal being to improve imaging overall, and to allow Dirac to work more effectively. Maybe “Head 790” from Lexx or “Zardoz” |
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KeithL
Administrator
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Post by KeithL on Jan 31, 2022 12:04:16 GMT -5
That's an interesting idea....
I've never heard of anyone even claiming to successfully incorporate any sort of consideration for HRTF in anything other than a binaural recording intended to be listened to with headphones. The problem is that, with speakers, there's no way to actually control what sounds reach which ear, and via what path. Therefore the best you could hope for would be to model exactly what's going to happen and then somehow "pre-compensate" for it.
The practical catch there is that you cannot eliminate sound waves once they are in the air. You can cancel a specific sound, at a specific frequency, at a specific location, with an out-of-phase version of itself. However, in the real world, this ALWAYS leads to a sort of infinite regress.
Even if it works perfectly as intended the "cancellation signal" that you craft to cancel something at one specific location continues on throughout the room. (So eventually that "cancellation signal" itself becomes "noise" or "an incorrect signal" reaching the other ear, or even the same ear, after several reflections.)
Chasing some ideas on interaural crosstalk cancellation and the effect of the head-related transfer function on imaging, and maybe even Dirac corrections. But wait, wait ... what shall we name it? And no, it can't be Yorick because that's for skulls <button disabled="" class="c-attachment-insert--linked o-btn--sm">Attachment Deleted</button> |
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