The effects of early reflections on proximity, localization, and loudness

[@levityprojectmusic]

This is awesome!! An interesting thing is that you need enough proximity sound to be heard clearly across a room - so if a voice is too reverberant (say, for the person at the back), it won't be clear. I think that is a case for needing the thoughtful use of a microphone and PA (to amplify the direct sound of a voice so that it can be intelligible to everyone in a room - but NOT a case for indiscriminate amplification!). In the video, I hear the speaking voice oscillating between the left and right channels. My initial reaction is to switch to mono. While this helps to reduce the L/R movement, spatial quality and upper clarity are unfortunately sacrificed. The answer for that I think is to mono the source below its reverberant level and leave the reverberance stereo (and widen or narrow that as needed) so that the recording more faithfully represents hearing the talk from anywhere in a well-tuned room when listening on speakers or headphones

[@andrewrice9383]

The man himself 🙏

[@levityprojectmusic]

5:52 - the microphone voice in headphones is much more direct (because it is too loud). If it is an exact reproduction of a voice, it needs to be set to the same perceived volume as the live-speaking voice to be perceived accurately as being similar. In the recording, the matched voice has presence in the room at around 2-3khz and 150-250hz that isn't there in the natural room voice, whose tone is tilted toward 800-1.5khz and is slightly less booming. On headphones, the scrambled signal matches the volume of the natural room voice. And this is my world - making live mixes that can translate reliably to headphones

[@alikthenam]

very informative

[@dl6519]

Very interesting. What is the approximate arrival time of the first reflection in the clips, relative to the first-arrival sound?