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 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.
Click to purchase paper as a non-member or login as an AES member. If your company or school subscribes to the E-Library then switch to the institutional version. If you are not an AES member and would like to subscribe to the E-Library then Join the AES!
This paper costs $33 for non-members and is free for AES members and E-Library subscribers.