Sometimes I wish I'd never asked.
OK then, I was under the impression that directivity was due to phase of
the wavefronts on both sides of a diaphragm. In the case of the ear, there
is only one clear side though. Also ears are log, and most amps are linear,
so I'd always assumed that it was the loudness ratio that caused the effect
in the ear and using headphones etc makes the ears perform differently.
Brian

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This newsgroup posting comes to you directly from...
The Sofa of Brian Gaff...

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"Don Pearce" wrote in message
...
On Thu, 10 Aug 2017 11:22:47 +0100, "Brian Gaff"
wrote:

I've often wondered this. If somebody speaks into your ear, you do not
hear
the pop you often get on a microphone in the same position do you.
Likewise
when listening to music in a hall with your ears and then over headphones
from a set of mikes you notice the echo on the latter but not on your
ears.
People say its the way the brain processes the sound, but if that is the
case maybe now we can actually emulate this in some way for recording?
No I don't mean going back to a close miked up every single instrument
and
a mixer you need to be Twizzle to operate.
Brian

Ears are pressure transducers. This means that the ear drum almost
doesn't move when sound hits. A blast of air from a pop has very
little pressure, but a lot of velocity. Any microphone that isn't omni
will respond to air velocity - it is a combination of velocity and
pressure response that sets directivity. All pressure is omni, all
velocity is figure 8. A mixture of the two is one of the many flavours
of cardioid.

d

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