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[Jason Glass]

Also it's typically for stereo imaging at low frequencies to be narrowed, again because of the physical limitations of the media and the playback devices*.

Physical limitations (groove width) were indeed limited, as were the technical limitations of analog broadcast. If you wanted a "hit record", it had to sound good when transmitted via mono AM, stereo multiplexed FM, mono TV, or stereo multiplexed TV. All had (still have) strict limitations on maximum summed signal levels, L-R separation, and L-R phase relationships.

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[Chris Grimshaw]

Also it's typically for stereo imaging at low frequencies to be narrowed, again because of the physical limitations of the media and the playback devices.

Doesn't matter. Even with digital files, <100Hz is almost always mono. That's mostly because our ability to locate LF sounds is so poor. No point in having stereo bass - can't tell the difference between that and mono anyway.
Add in the proliferation of home stereos with small satellites and dedicated subwoofers, and I don't see this as any kind of problem.

Chris

[Scott Helmke]

Doesn't matter. Even with digital files, <100Hz is almost always mono. That's mostly because our ability to locate LF sounds is so poor. No point in having stereo bass - can't tell the difference between that and mono anyway.
Add in the proliferation of home stereos with small satellites and dedicated subwoofers, and I don't see this as any kind of problem.

I'm not sure the earbuds/Beats generation would agree with you on that.   

[Helge A Bentsen]

You can tell the difference with mono or stereo subs if you feed them mono or stereo sources.

The next time you mix a symphony orchestra outdoors, try adding two quality omnis at the front edges of the orchestra and send them discretly to L and R subs. Stuff will happen when the orchestra starts playing. And it will sound good.

It has to be omni btw, because pressure-gradient mics are less sensitive to LF over distance, so you need a pressure-sensitive mic for this application.

[Chris Grimshaw]

I'm not sure the earbuds/Beats generation would agree with you on that.   

As a member of that generation, most of them don't care.


Helge, I believe what you say about the omni mics. However, I'm not quite to sure that <80Hz has to be stereo.
https://en.wikipedia.org/wiki/Sound_localization#Evaluation_for_low_frequencies

As with all things in audio, there's some element of subjectivity. If I can only detect 0.5dB amplitude differences between my ears, but you can detect 0.001dB, you'll be much better at localising sounds than me. That said, I suspect everyone's of a similar order of magnitude so there'll be very few people that can reliably locate low-frequency sources*.

*Assuming a very low-distortion source a reasonable distance from the listener.

Chris

[brian maddox]

A few days ago I attended a civic orchestra concert here in Jacksonville where they performed Saint-Saëns' Symphony No. 3 - the "organ symphony" - at the Episcopal cathedral here.  It was pretty neat to hear an entirely acoustic ensemble play something so darn loud! 

...

...it can be really surprising how loud something like a cello can get.  A 50 piece orchestra can hold it's own in a decent sized space without any help - add a 60 rank pipe organ to the mix and you can literally shake the building. 

...

Symphony Orchestras can truly get loud.  Big Bands are also Very Loud Acoustically.

But one of the loudest musical things i ever heard acoustically didn't involve an instrument at all.  I was mixing at the Kennedy Center Concert Hall in Washington DC in the early 90's for a "children's choir" event.  But this wasn't just any children's choir. it was basically the best and brightest choir members from around the country all gathered together into a 'invite only' national choir.

Anyway, there were 3 choirs at 3 different age groups ranging from 8 to 18 years old.  And for the finale they all were on stage at once.  During soundcheck they gathered them all on the bleachers on stage.  There were hundreds of them, kept in remarkably good behaviour by the sternest choir director i have ever seen.

Anyway, i was walking across the stage when the director called them all to attention, gave them 3 notes on the piano, and then instructed them to give him a full voice LAH!  [they were already warmed up for the choir folks among us]  When they hit that chord, they almost knocked me off the stage.  I had never heard humans make that much sound acoustically.  Truly Awesome!

One of my more memorable experiences.  The concert was off the charts as well.

[Jack Arnott]

One thing that is easily forgotten (if it is understood in the first place) is how acoustic instruments can reinforce each other in ways that electronic instruments cannot.

As the sound from one instrument falls on another, the second instrument tends to vibrate complementary, in phase with the original instrument. The effect is that they tend to reinforce each other. This is much like how electrical generators on the power grid "phase lock" with each other to provide a uniform, additive sine wave.......

This is one of the coolest posts I have read in a long time.

[Randy Pence]

I'm not sure the earbuds/Beats generation would agree with you on that.   

i doubt anyone with beats headphones cares much more beyond whether the kick is loud

[Mark Wilkinson]

One of my more memorable experiences.  The concert was off the charts as well.

Awesome! , thx for posting

[ProSoundWeb Community]