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From Instrument to Ear in a Room: Direct or Via Recording
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.
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