Difference between revisions of "Cocktail Party Effect"
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| − | "Applying the Benefits of Unamplified Acoustic Music to Performances with Amplification" - page 51<ref>[http://bose.infopop.cc/groupee_files/attachments/8/7/2/8721034854/8721034854_BoseWhitePaper_ed2b.pdf?ts=46BC4A4B&key=9D3A40A60552A5DFEF41D72303BA06FE&referrer=http%3A%2F%2Fbose.infopop.cc%2Feve%2Fforums%2Fa%2Fga%2Ful%2F9721034854%2FBoseWhitePaper_ed2b.pdf Applying the Benefits of Unamplified Acoustic Music to Performances with Amplification] | + | "Applying the Benefits of Unamplified Acoustic Music to Performances with Amplification" - page 51<ref>[http://bose.infopop.cc/groupee_files/attachments/8/7/2/8721034854/8721034854_BoseWhitePaper_ed2b.pdf?ts=46BC4A4B&key=9D3A40A60552A5DFEF41D72303BA06FE&referrer=http%3A%2F%2Fbose.infopop.cc%2Feve%2Fforums%2Fa%2Fga%2Ful%2F9721034854%2FBoseWhitePaper_ed2b.pdf Applying the Benefits of Unamplified Acoustic Music to Performances with Amplification]</ref> |
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Revision as of 06:44, 10 August 2007
Cocktail Party Effect
The advantages of the approach based on the Cylindrical RadiatorTM loudspeaker are comprehensive because both the primary and secondary problems characteristic of the triple-system approach are addressed.
1. Full use of the property of hearing known as the cocktail party effect In the audience and on stage, regardless of location, the sound of each instrument or voice comes from a different direction. Thus the full spatial richness present in an unamplified performance is achieved. The full benefit of the cocktail party effect – the ability to pick out and appreciate individual instruments and voices because they are coming from different directions – is enjoyed by musicians and members of the audience.
In the approach using Cylindrical Radiator loudspeakers described here, the listener hears sound from the locations of each of the individual instruments, as in an unamplified performance.
This is an excerpt from the Bose White paper "Applying the Benefits of Unamplified Acoustic Music to Performances with Amplification" - page 51[1]