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Re: Revisiting Horn Soundstaging & Imaging

You make some interesting points, and overlook or are unaware of others.

In recordings that are live there is a great deal of soundstage information that is an artifact of the recording process. When the instruments are playing simultaneously in the same space and not individually mic'd phase differences provide location information not only left to right but front to back as well.

The local Symphonies that I frequent (LA Phil and Long Beach Symphony) both record most performances. Both venues use similar micing techniques: A stereo pair near the front of the stage but at the elevation of the mezzanine level, with another pair more centrally located for better pickup of the woodwinds. The effect of the elevated primary mics can be clearly heard on a good system in that the strings sound as though they are lower and more forward than the woodwinds, horns, brass and percussion with are all successively further up and rearward in the sound stage.

The phenomena of sounds coming from outside of the speakers is well known among recording engineers of the past. A signal in one speaker in phase with the opposite speaker receiving the same signal out of phase creates a large area of phase cancellation in the main soundstage and creates the illusion of the sound coming from beyond the speakers. Due to time differences between an instrument on the periphery of the orchestra/ studio creating a sound and that sound's arrival at the two microphones in live recordings this situation is not infrequent, albeit subtle.

Maybe I'm full of it, but my system produces a very life-like soundstage that extends vary wide and very deep. The system is 3-way mains, fully horn-loaded with stereo horn sub woofers. And, the stereo subs damatically improved the dimentionality of the soundstage.

Lastly, anyone that does not believe a horn system can image well has not heard one implemented well.

eso



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