談錄音...

[Leo Yeh]

來源：DPA

立體聲錄音的寬度跟頻率是有關的，因此想要更高品質的音調(tonal)，那麼麥克風之間的距離就要越寬，建議是最低音調波長的1/4左右，並且要考慮人耳對150Hz以下定位的能力，最佳距離在40~60cm左右。越近的麥克風距離用在接近發聲點以避免某個樂器太寬或不自然。若距離減少17~20cm，那是會被人耳所查覺的，這個距離約等於人兩耳間的距離。

要注意的是麥克風寬度越寬，那麼會影響系統再聲的定位能力，也會影響在Mono重播下的品質。

Since the stereo width of a recording is frequency-dependent, the deeper the tonal qualities you wish to reproduce in stereo, the wider your microphone spacing should be.Using a recommended microphone spacing of a quarter of the wavelength of the
deepest tone, and taking into account the human ear's reduced ability to localize frequencies below 150Hz, leads to an optimal microphone spacing of between 40 and 60 cm. Smaller microphone spacings are often used close to sound-sources to prevent the sound image of a particular musical instrument from becoming "too wide" and unnatural. Spacings down to 17 to 20 cm are detectable by the human ear, as this distance is equivalent to the distance between the two ears themselves.It should also be noted, that an increase in microphone spacing will decrease the system's ability to reproduce the signals from sound-sources positioned directly between the microphones.This will also lead to a reduction in the quality of the stereo recording when it is played in mono.