The fluctuation statistics of the path between source and detector in room acoustics is reviewed along with some of the perceptual mechanisms used by the musical listener at a concert. Auditory parallel processing is important in both time and frequency domains. It is shown that the listener exploits the room statistics as a means for gaining information unavailable to him in a reflection-free environment. Properties of a good concert hall are examined as preparation for a discussion of the acoustical requirements of a recording studio. The record/playback process is examined, where two successive room-transmission paths and two types of sources must be dealt with by the listener. Finally, microphone placement is considered, as influenced by musical instrument radiation patterns.
Author:
Benade, Arthur H.
Affiliation:
Case Western Reserve University, Cleveland, OH
AES Convention:
74 (October 1983)
Paper Number:
2042
Publication Date:
October 1, 1983
Subject:
Studio Design
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