Originally Posted by MikeFFG
Your ears use 3 things to locate sounds : time differences, amplitude differences and 'color' differences, which is how the pinnae color the sound...the pinnae being the outer part of the ear that looks all freakish. There is a reason it looks so weird!
Stereo techniques use time differences (spaced pairs) and amplitude differences (coincident pairs) to achieve their respect stereo effect. I don't think any of them simulate the third, though binaural might get close, but even a fake dummy head doesn't do the same as our real head would, I'd imagine...don't quote me there!
I think this effect however, is achieved not by stereo techniques, but by mixing techniques. I recall, though don't have it in front of me, that in The Art of Mixing, this is discussed.
I definitely remember more treble and less bass achieves this effect a bit. I think it may have more to do with our brain interpreting things that way just because it assumes that's the way it is. I wish I had the book in front of me but it's at my parents' house.
Anyone else have that book? I totally remember it being in there.
That's is the best answer here.
The brain uses amplitude and
time cues in order to place music or other sounds in the psychoacoustic spatial mapping model
created by the brain. Sound, for many folks, is actually a huge, but often unrecognized part of how they create an internal model of their spatial surroundings. (For a blind person, of course, it's almost everything; smell and touch being the other primary information feeding into the personal environment spatial map.)
The reason binaural (dummy head) recordings can be -- initially
-- so stunning is that the dummy head miking can capture both amplitude and
timing cues reaching the ears. [Of course, as noted below, such recordings must be listened to via headphones for best effect.]
However, a big problem with such binaural dummy heard recordings is that the capture is (almost always) from a fixed point
But, if you 'observe yourself' when you're listening in a complex environment (like an unamplified orchestra in a concert hall), you'll be likely to find that you are continually moving your head in ways small and large as you listen -- and this temporal
and spatial-orientation aspect is also
a very large part of the psychoacoustic modeling process.