Seat-caused acoustical interference eludes equalization and often goes unnoticed by listeners

Evidence

Ear level microphones in close proximity to orderly rows of seats, some of which have high backs, generate effects more complex and of wider bandwidth than the well-known seat-dip phenomenon in concert halls. The fact that the cinema sound field is considerably less reflective is a probable factor. It is unlikely that these non-minimum-phase acoustical interference effects can be treated by equalization, if indeed they need correction at all. Two ears and a brain are much more analytical and adaptable than an omnidirectional microphone and analyzer. Once stationary in a chair, listeners usually are unaware of, or attribute innocent spatial descriptors to measured variations suggesting repugnant interference/comb-filtering phenomena. — Toole, Floyd E, Sound reproduction- the acoustics and…, 1332

Categorization

• DEEPTHINKING: The claim that measured comb-filtering artifacts are perceptually innocent because binaural hearing adapts is a genuine perceptual nuance — that measurements can mislead precisely because an omnidirectional mic lacks the analytical power of two ears and a brain.
• XREF: Comb-filtering and non-minimum-phase interference connects to room equalization debates seen earlier in the book and to Toole’s broader argument that excessive EQ harms perceived quality.