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In the Forum: Audio Discussions
In the Thread: Simpson Microphones thread.
Post Subject: Listening awareness and microphonePosted by Romy the Cat on: 10/21/2007

 Andy Simpson wrote:

You raise an interesting point regarding ribbons but are missing the bigger picture.

With Romy's permission, I would like to invite you (and any other members) to listen to some recordings on my site: www.SimpsonMicrophones.com

These show 'the ribbon sound' more than any ribbon mic - violin is a key instrument.
After you have listened I will be glad to explain why.

In answering why, I will give some reasons why the horn loaded speaker is superior to the ribbon (which is direct-radiating).

I do not expect to find customers in a loudspeaker community - only enthusiasts with whom I might discuss some principles of audio. Romy - if this is not appropriate, please delete.

Andy, you do not need to be apologetic, I have no rules against anyone to pull any commercial or marketing agenda – as long as you natural interest are noble then whatever you do is fine – well, you just need to be prepared to live with consequences if your natural interests are otherwise… :-) BTW, I moved your post into own thread, I hope you do not mind.

I know a lot about microphones but there is subject in the microphones that fascinated me tremendously and that has very direct influence to the audio that I practice. Human hearing can concentrate to specific sound, microphone can’t. To get “concentration” people bring microphone closer to the source, in some instances locating the microphone way within the reverberation radius (distance what direct sound  is equal to reflected sound). However, this positioning severely fucks up (I can’t find another word) harmonic content of sound and I HATE the recording with up-close microphones. I know, the audio-idiots and the industry warships the recordings with microphones stacked into the singer’s throat or into the violin deck but I’m so sick of them that it is hard to express, even with me flourishing semantics…

So, I wonder if exist any microphonic techniques that might position mics at significant distance, have tremendous transient capacity but at the same time would allow the listening awareness to “depth-observing” the recording event?

Romy the Cat

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