In the FRANCINSTIEN T-Sym correction algorithm, advantage is taken the time-symmetric, zero-phase response of certain digital filters to increase the steepness of the onset of the all-important frequency-dependent crosstalk. In this way, the difference between the low-frequency regime and high-frequency regime is more clearly defined. Analysis of the formation of stereo images in terms of wavefront reconstruction theory demonstrate this approach is worthwhile1. Listening tests confirm it: the result is a stereo image of unprecedented clarity and "solidity"
As a demonstration of FRANCINSTIEN T-Sym here is a recording of Beethoven's Bagatelle No. 25 in A minor for solo piano (commonly known as Für Elise) performed by Charles Metz on a fortepiano at First Congregational Church of St. Louis, Missouri in November 2019.
Captured using a Schoeps pair and FRANCINSTIEN T-Sym post-processing, the recording was kindly supplied by producer/ engineer: Barry Hufker. The photograph of the concert is by Pat Weaver.
Charles Metz performs nationally and internationally on various virginals, harpsichords and fortepianos. This performance used a replica instrument built by Paul McNulty who is based in Divisov in the Czech Republic.
For more information on the FRANCINSTIEN T-Sym process viewed as a wavefront reconstruction mechanism (like a hologram) is given here.
1 Bennett, J.C. et al. A New Approach to the Assessment of Stereophonic Sound System Performance. J.Audio Eng. Soc., Vol.33, No.5, 1985 (May)
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