The diversity of the space environment requires the diversification of sound field conditions. This diverse sound field can be obtained through several independent locations (including recording studios) or by different sound fields in different areas of the same site. In terms of the comparison between the two, the sound space environment that the latter may achieve is more abundant. It almost combines various acoustic conditions from the reverberant sound field to the free sound field, and only needs one space to obtain various kinds of different sound conditions. Spatial information is therefore more convenient to use and the cost will be saved.
In a typical free-field or reverberant sound field condition, the spatial environmental sensation of the sound is mainly obtained by a change in the (relative) distance between the sound pickup point and the sound source. In actual work, attention should also be paid to the reflected sound, especially the analysis of the previous reflected sound to control the sound quality of the sound. In the case of reverberant sound field, the critical distance (that is, the reverberation radius) has special significance in determining the sound pickup point; in the case where multiple sound field conditions coexist, the acoustic characteristics of each region of the sound field should be known. Obviously, at this time, it provides the possibility of realizing multiple sound space environment effects in the same place on the one hand and the complexity of sound source and pickup point arrangement on the other hand. The combination of these two aspects is a necessary condition for obtaining a variety of different sound space effects in the same place. In real-time recording, they are extremely artistic in terms of maintaining the authenticity and naturalness of the sound space environment, so they should be given enough attention.
People are very keen on the judgment of the space environment. Using the sound field of the studio to simulate (produce) the spatial and environmental conditions of the narrative space, sometimes there may be some restrictions. At this time, the sound signal processing method can be used to perform some processing on the acoustic signal, but in any case, it is necessary to satisfy the human "expectation" of this effect, that is, the understanding of the sound in different spaces formed in the long history of human evolution and evolution. This understanding can be direct (intuitive) or potential ("subconscious"), so the analysis of different sound fields is the basis for this creation.
By extension, if you think of all the space used to pick up the sound signal as a "studio", or make some adjustments to the studio according to the needs of recording creation, you should not forget the above principles. When using a natural sound source as the recording object, in any case, the analysis and understanding of the spatial environment information contained in the picked up sound signal is the basis for presenting this information in the reproduced sound source, but is reconstructed with the reproduced sound source. When a sound field with a certain spatial environment effect is important, it is re-created by mutual contrast, and the sound space environment effect in the film and television basically does not depend on the acoustic conditions of the projection place.
In short, the sound field of the studio is an ideal sound field created to create a specific spatial environment. It is not fundamentally different from other recording space environments, but because of its ease of control, it has a special importance in recording. In order to demonstrate the spatial environment in the artistic conception, it is necessary to reconstruct a sound field by appropriate methods. In the screening place (such as the standard auditorium), the quasi-free sound field is established, so the space environment effect is completely dependent on the space environment information provided by the regenerative sound source. It goes without saying that maintaining or creating such spatial and environmental information in recordings is an important task for recording personnel, and all of this must be based on information that reflects the sense of space and environment, that is, the acoustic properties of the sound field.
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