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The Basement
Psychoacoustics
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<blockquote data-quote="Jay Barracato" data-source="post: 34507" data-attributes="member: 24"><p>Re: Psychoacoustics</p><p></p><p>I have been thinking about this because I am not sure just how much of the original "original sound" is arriving at a different time from the amplified sound and at a significant volume. I am obviously considering this from the standpoint of a 5 or 6 piece acoustic string band.</p><p></p><p>It seems like in our smallest venues where the front of the audience can clearly hear the unamplified sound, the delay is really not as important because in these small venues the FOH speakers are basically in line with the players. At this point I think the thing that is missing in many setups is making sure the front center of the audience is adequately covered with the FOH speakers. I find in many setups that I walk up to that these money seats are actually out of or on the edges of the coverage. Since I don't usually use wedges, sometimes the best view has some of the worst sound (and wouldn't you know that is where the guy with the video camera always goes, if they don't try recording from side stage, behind the FOH:x~:-x~<img src="data:image/gif;base64,R0lGODlhAQABAIAAAAAAAP///yH5BAEAAAAALAAAAAABAAEAAAIBRAA7" class="smilie smilie--sprite smilie--sprite4" alt=":mad:" title="Mad :mad:" loading="lazy" data-shortname=":mad:" />). I may try a few feet worth of delay in this case, just to see if it makes a difference.</p><p></p><p>Our largest shows, while not arenas, are big enough that the front row is probably 10 feet from the band and being covered by front fills. In this case I am really not sure the aucoustic sound from stage is meaningful at all, and I would not expect much noticable difference from the delay.</p><p></p><p>The case where it may help are some of the small theaters (approx 150-300 seats) where there is a significant distance between the stage and the installed system, usually installed as part of the arch. This is where I tend to notice that the sound is a bit more disconnected from the players. This type of high and wide install should also have a smaller range of distances in different listening positions. I know that many people believe it is harder to localize the sound source by height, but without center fills, I find the first couple of rows of seats seem to localize more to the speakers than to the players positions on stage. A couple of feet would probably help here as well. Unfortunately, several of these community theaters i have been in this spring seem to lack any type of dsp control (One was literally from the board to the amps to the speakers, and another one had a analog graphic with a piece of paper over it saying "please do not touch").</p></blockquote><p></p>
[QUOTE="Jay Barracato, post: 34507, member: 24"] Re: Psychoacoustics I have been thinking about this because I am not sure just how much of the original "original sound" is arriving at a different time from the amplified sound and at a significant volume. I am obviously considering this from the standpoint of a 5 or 6 piece acoustic string band. It seems like in our smallest venues where the front of the audience can clearly hear the unamplified sound, the delay is really not as important because in these small venues the FOH speakers are basically in line with the players. At this point I think the thing that is missing in many setups is making sure the front center of the audience is adequately covered with the FOH speakers. I find in many setups that I walk up to that these money seats are actually out of or on the edges of the coverage. Since I don't usually use wedges, sometimes the best view has some of the worst sound (and wouldn't you know that is where the guy with the video camera always goes, if they don't try recording from side stage, behind the FOH:x~:-x~:mad:). I may try a few feet worth of delay in this case, just to see if it makes a difference. Our largest shows, while not arenas, are big enough that the front row is probably 10 feet from the band and being covered by front fills. In this case I am really not sure the aucoustic sound from stage is meaningful at all, and I would not expect much noticable difference from the delay. The case where it may help are some of the small theaters (approx 150-300 seats) where there is a significant distance between the stage and the installed system, usually installed as part of the arch. This is where I tend to notice that the sound is a bit more disconnected from the players. This type of high and wide install should also have a smaller range of distances in different listening positions. I know that many people believe it is harder to localize the sound source by height, but without center fills, I find the first couple of rows of seats seem to localize more to the speakers than to the players positions on stage. A couple of feet would probably help here as well. Unfortunately, several of these community theaters i have been in this spring seem to lack any type of dsp control (One was literally from the board to the amps to the speakers, and another one had a analog graphic with a piece of paper over it saying "please do not touch"). [/QUOTE]
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