An approach to the standardized control room is found in the "Live end-Dead end" (LEDE) technique. Desirable features include greatly increased spatial perception, psychoacoustic removal of directional clues from the semi-reverberant sound field, assurance of the generation of a suitable semi-reverberant sound field, and deliberate control of anomoly density and arrival time at the mixing engineer`s ears. The result is an exceptionally neutral control room environment that allows precision judgments to be made at the mixing console that correlate remarkably with the sound field appearing between two microphones in the studio. Both theoretical considerations as well as actual user responses, will be discussed.
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