In article ,
John Phillips wrote:
I have recently been thinking about the factors that lead to good depth
perception in stereo systems. I suspect there are depth cues which
can come from mono systems:

- amplitude (relative: quieter = further away)
- timbre (absolute: less HF = further away)

No - as demonstrated by 'pan pot' stereo. It's the time or phase
differential between the two legs which gives depth. A pan potted mono mic
can give quite good positioning across the stage - after all that's how
its settings were arrived at - but unless combined with other information
will not give any true depth.

And stereo cues:

- image width (absolute: narrower = further away)

I am wondering if reflections matter, either "original" ones from the
recording venue or introduced ones from the listening room (which may
blur the originals).

The ones in the listening room matter a great deal. Really for accurate
reproduction the 'deader' the better. Although if you overdo this the
brain can be confused by an unreal acoustic.

It's no coincidence the finest stereo recordings usually come from the
finest halls, etc. Hardly ever studios.

Don mentioned 'speaker toe-in earlier. Since the frequency response of
'speakers off-axis tends to fall off at HF faster than at LF I suspect
toe-in matters somewhat in achieving good timbral depth perception.

Most decent speakers will have a pretty good off axis response - in terms
of the few degrees needed for the sweet spot. And IMHO all decent speakers
have a sweet spot for stereo. Those that don't have severe problems. ;-)

--
*Why 'that tie suits you' but 'those shoes suit you'?*

Dave Plowman London SW
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