I went to Kassel over the weekend guys, just for the sake of meeting Michael Methe and his buddy Martin Bober as well as to listen to their systems. For those of you who have never heard of Michael I just want to say that he is very special for me and his blog was the main inspiration to get into blogging myself. He is pretty well known in the audio circles here in Germany and his website is a database of very well documented DIY projects, customization of commercial products and experiences in the realm of audio reproduction. Following his winding road in chasing the perfect sound has brought me great amounts of pleasure and has raised my level of understanding.
Today I would like to talk about a method for adjusting an audio system with the help of recorded natural sounds. Why natural sound recordings? There are several reasons but the aim is to lighten the process of referring to real life acoustical events. First point is that such records are carried out in an open space – somewhere in the woods or in the fields – which means that they are stripped of any room resonances and reverberations. Though close miked studio recordings also strip most of the environmental acoustic artefacts, resonances and reverberations inherent to the musical instruments themselves might overlap with reverberation modes of the reproduction space, which become relatively hard to distinguish.