Studio recordings would have little to benefit from using a binaural set up, beyond natural cross-feed, as the spatial quality of the studio would not be very dynamic and interesting. Lastly, the types of things that can be recorded do not have a typically high market value. Particularly in pre- Walkman days, most consumers considered headphones an inconvenience, and were only interested in recordings that could be listened to on a home stereo system or in automobiles. īinaural stayed in the background due to the expensive, specialized equipment required for quality recordings, and the requirement of headphones for proper reproduction. In 1978, Lou Reed released the first commercially produced binaural pop record, Street Hassle, a combination of live and studio recordings. The signal was sent to subscribers through the telephone system, and required that they wear a special headset, which had a tiny speaker for each ear. It consisted of an array of carbon telephone microphones installed along the front edge of the Opera Garnier. The first binaural unit, the théâtrophone, was invented by Clément Ader. The history of binaural recording goes back to 1881.
As a general rule, for true binaural results, an audio recording and reproduction system chain, from the microphone to the listener's brain, should contain one and only one set of pinnae (preferably the listener's own), and one head-shadow. For listening using conventional speaker-stereo, or MP3 players, a pinna-less dummy head may be preferable for quasi-binaural recordings such as the sphere microphone or Ambiophone. because the sound from each channel's speaker is heard by both ears rather than only by the ear on the corresponding side, as would be the case with headphones), either headphones are required, or crosstalk cancellation of signals intended for loudspeakers such as Ambiophonics is required. Because loudspeaker-crosstalk with conventional stereo interferes with binaural reproduction (i.e. Conventional stereo recordings do not factor in natural ear spacing or " head shadow" of the head and ears, since these things happen naturally as a person listens, generating interaural time differences (ITDs) and interaural level differences (ILDs) specific to their listening position. The term "binaural" has frequently been confused as a synonym for the word " stereo", due in part to systematic misuse in the mid-1950s by the recording industry, as a marketing buzzword. This idea of a three-dimensional or "internal" form of sound has also translated into useful advancement of technology in many things such as stethoscopes creating "in-head" acoustics and IMAX movies being able to create a three-dimensional acoustic experience. Binaural recording is intended for replay using headphones and will not translate properly over stereo speakers. This effect is often created using a technique known as dummy head recording, wherein a mannequin head is fitted with a microphone in each ear. Neumann KU 100 microphone used to record binaural soundīinaural recording is a method of recording sound that uses two microphones, arranged with the intent to create a 3-D stereo sound sensation for the listener of actually being in the room with the performers or instruments. It has been suggested that Dummy head recording be merged into this article.
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