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Re: [ARSCLIST] Absolute Polarity
on 10/19/08 2:08 PM US/Central, Richard L. Hess wrote:
> Piano - compression attack (i.e. positive-going peak)
> Saxophone - compression attack
> Snare - compression attack
All of these, and especially trumpet and trombone in the brass family. In
percussion, a clean attack produces compression on the leading edge of the
> Tympani - rarefaction attack
No experience with that, but it would seem to depend on the way it is miked.
> Are these correct in your experience and what others would you care to share?
As you know, almost all broadcast audio has been subjected to phase
rotation. Phase rotation will minimize or eliminate asymmetrical waveforms.
Perhaps that's another reason to avoid FM radio.
> As an aside, the lack of a standard for laying down and retrieving an
> absolute polarity from magnetic tape was something that I personally
> attempted to address in at least one large project in the 1980s,
> where I tried to include Dr. Lipschitz's proposed standard in the
> tape machine procurement spec, but the client rejected it. With the
> switch to digital, this has become somewhat moot at the system level.
> I have not checked at the consumer level what is happening with
> various devices.
Why shouldn't any professional system address the issue of absolute
polarity? Isn't it irrelevant that digital audio systems are bi-phase?
If we make a correction, we document it for the client.
CD Mastering + Audio Restoration