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Re: [ARSCLIST] Absolute Polarity

Richard, are you talking about recorded sounds or a comparison with the abslute polarity heard in the room with the instrument?

Think of the sond emanating from the bottom of a piano, and how it affects the listener in the same room (and what if it were recorded with mics underneath - then which polarity should it have "on tape?" Or snare, tympani, literally every percussion instrument? - how much sound comes from the bottom?

Just thoughts on the topic. Makes me smile and think of the French horn. Would its attack be positive or negative, since it faces away from the audience?

And contrary to everything Mr Johnson says, every engineer I personally know (except two I shall not name) has been well taught the issues and best practices for polarity in recording. Myself, I discovered the effects when about ten when putting a finger lightly on a woofer cones while listening intensely to a bass. My professional education reinforced what was personally observed.

I am one of those persons whose eyes tear up when presented with out of phase stereo speakers. I have been astounded to walk in a room and hear the effect of out of polarity speakers being used in "professional" situations, even home systems. Maybe some people cannot hear it. Seems like being colorblind to me.

On Oct 19, 2008, at 12:08 PM, Richard L. Hess wrote:

Here is a start of what the useful list might look like with some of my guesses

Piano - compression attack (i.e. positive-going peak)
Saxophone - compression attack
Snare - compression attack
Tympani - rarefaction attack

Are these correct in your experience and what others would you care to share?

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