Right here is where the analogy falls apart. A mic boom is simply holding the mic in the right location, but in that regard is rigid and does not have to articulate. It doesn’t need much in the way of adjustments and they come in different sizes depending on application. Certainly no worries about things like effective mass, mechanical resonance 7-12Hz or the like.
Ralph,
I agree more with you than not. As I have done all the tweaking to my Pioneer table arm as it has every tonearm adjustment you can think of. You know how I know? Because it is APITA!
And you certainly have taught me some things and know far more about audio engineering than I do.
And here comes the but.
But doesn’t all the magic happen in the (LIVE) recording venue of the studio? The position, location and placements of (booms) mics, musicians, room sound treatments, the experience level of a competent recording engineer ect?
Am I wrong to notice not only the science of a recording but the ART form as well? I think there is a bit more that goes INTO a recording than what you say above.
And if you look at pictures of the Kind of Blue session, they do show articulating booms with multiple joints. Remember this was at the house of Columbia Records.
To this day when I hear a Rudy Van Gelder engineered album that is a great pressing, I’m still blown away at his technique.That’s all I’m saying.
And you know what’s really confusing? There’s just as many arguments from audiophiles with some of the best systems known to man and they swear by only using a headshell alignment tool and their ears!
Ralph, thanks again for taking the time to teach, us all.