from:"David Worrall"

Re: [Sursound] the facebook group

2022-01-02 Thread David Worrall

My startle and orientation reflexes are already overstimulated so to 
subject myself to a barrage of advertisements of junk that a big-tech 
authoritarian has determined I _must_ be interested in, would be enough 
to make the monaural experience a must-have. I don't need those thugs in 
my life, so count me out.


~drw



On 2022 01 02 14:02, Stefan Schreiber wrote:
I would second Fons' views, in the sense that I would not just "shift" 
a (still) working discussion group to some platform which seems to 
have shifted to some problematic state some years ago:


https://www.engadget.com/worst-products-and-companies-in-2021-153034006.html 



"Amid all that, Zuckerberg announced not an overhaul of the company’s 
policies, nor a review of its internal research, but… a new name: 
Meta. It’s meant to symbolize the company’s newfound commitment to a 
metaverse that no one can fully explain. ...


Facebook, er Meta, has yet to meaningfully address any of those 
questions."


If "even" Engadget (which is a site focusing on technological and IT 
novelties/"gadgets") writes in this way, then there must be some 
problem. (The statements in the article are all fair enough- I don't 
think anything is biased.)


I would also not shift a discussion group related to some research to 
some commercial sphere which is built on the use of private data. (It 
does - in my strong opinion - just "not fit". )


Best regards

Stefan

P.S.: But IF things are here about free speech, then it is "very 
interesting" that some of the FB rules/behaviour code did apparently < 
not > apply to some group of "privileged members".


You can think about why this is so... ;-)

P.S. 2: This is a wider problem, not just affecting Meta aka 
Facebook... Just saying that I would/will not support the proposal 
that "we all join the Facebook-group, corresponding to this one".


- - - -

- Mensagem de Fons Adriaensen  -

 Data: Sun, 2 Jan 2022 10:13:32 +0100

 De: Fons Adriaensen 

 Assunto: Re: [Sursound] the facebook group

 Para: sursound@music.vt.edu


On Sun, Jan 02, 2022 at 06:19:03AM +0200, Sampo Syreeni wrote:

Hi. How about if you all also join the Facebook-group, corresponding 
to this


 one? Because it'd be nice as always... ;)


So you suggest to support a platform



 * that systematically amplifies division, extremism, and

 polarization around the world,



 * where you are the product to be sold, for any purpose

 including manipulation of elections,



 * is owned by a sociopath who thinks that you have no right

 to privacy, and has consistently lied about Facebook's

 policies.



 The sooner FB disappears the better it will be for all of us.



 --

 FA





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[Sursound] Rode's Ambisonic library [was Re: Comparison Sennheiser Ambeo mic vs. Rode NT-SF1?]

2020-04-25 Thread David Worrall

Hi All,

Re: [Sursound] The Acoustics of Domes

2019-08-07 Thread David Worrall

Hi Sean,

My group’s first ambisonic dome was a 7m radius 4v icosa geodesic hemisphere in 
the late 1980s, and others subsequently:

Photos and descriptions etc here:  http://www.avatar.com.au/wpsite/?page_id=41

and an ancient paper on the original project here: 
http://www.avatar.com.au/papers/Multichannel%20Performance.pdf

 

There’s another two on the drawing board as we speak.

We could skype about the technical issues if you’d like.

 

Cheers,

David

 

---

Dr David Worrall

Professor, Audio Arts and Acoustics

Columbia College Chicago

33 E. Ida B. Wells Drive Room 601A

Chicago, ILLINOIS, USA 60605

Wikipedia: David Worrall

Personal research/creative practice website: avatar.com.au

Some music/sonification: on soundcloud  Youtube videos

New Book: Sonification Design: From data to intelligible soundfields (Springer)

 

 

From: Sursound  on behalf of Sean Devonport 

Reply-To: Surround Sound discussion group 
Date: Wednesday, August 7, 2019 at 13:39
To: 
Subject: [Sursound] The Acoustics of Domes

 

Hey there everyone! Hope you're all well.

 

I wanted to ask if anyone on the group has experience setting up a

multichannel rig for a dome setup? Specifically designed to play Ambisonics.

 

I've been working with a team looking to build a VR hemispherical dome that

can display 360 video alongside Ambisonic content. The design for the dome

structure is complete and now we're just figuring out the sound component.

The sound is meant to fit seamlessly, and no obstruction should be on the

floor.

 

The dome is roughly 7m diameter, and built out of a fibre glass type

material. We're planning to have a two layer type sound setup, so with

roughly 14 speakers per layer plus a voice of god and a sub so (14-14-1.1).

I was thinking that it could be an interesting idea to mount the sub in the

ceiling above the VOG position, my reasoning being that the sub should

emanate evenly across the floor of the dome, and it would prevent the need

to have multiple subs outside the dome structure on the floor.

 

I've never setup in a dome before and I can imagine the acoustics must be a

little strange. Upon watching this video (

https://www.youtube.com/watch?v=JpdRYv9xA9w), I seem to get the feeling the

task may get quite interesting. I'm hoping someone may have some experience

with this.

 

Some problems that I think may occur:

1. A boomy bass at floor level.

2. Room resonances and standing waves that don't seem to be very well

studied.

 

I think first port of call for the Ambisonic setup is to ensure that each

speaker is calibrated to be the same loudness and time delay at the

listening position. From there, I've been looking into applying an averaged

DRC filter over the entire listening space to each loudspeaker to try get

the most accurate speaker response for the listening area although I know

this is quite a tricky challenge. I'm hoping that the DRC may help to

mitigate some of the room resonances, however, I'd love to get a second (or

more) opinion on how this would affect the setup.

 

Anyone with any advice or resources on this would be very much appreciated!

 

Thanks in advance.

 

-- 

Sean Devonport

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Re: [Sursound] a general reference for ambisonics encode, decode theory?

2019-01-10 Thread David Worrall

Thanks Peter,

Florian is about 4 or 5 offices down the corridor, so I’ll check if he has an 
update. :-)

 

David

 

 

From: Sursound  on behalf of "Peter P." 

Reply-To: Surround Sound discussion group 
Date: Thursday, January 10, 2019 at 01:40
To: 
Subject: Re: [Sursound] a general reference for ambisonics encode, decode 
theory?

 

* David Worrall  [2019-01-10 04:14]:

Hippy New Ears to Y’all!

  

I’m putting the finishing touches to my new book for Springer “Sonification 
design: From data to intelligible soundfields”

  

I want to include a general reference for ambisonic rendering (encode + decode) 
theory, which I execute in Csound.

I find this a very well written introduction

http://flo.mur.at/writings/HOA-intro.pdf

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[Sursound] a general reference for ambisonics encode, decode theory?

2019-01-09 Thread David Worrall

Hippy New Ears to Y’all!

 

I’m putting the finishing touches to my new book for Springer “Sonification 
design: From data to intelligible soundfields”

 

I want to include a general reference for ambisonic rendering (encode + decode) 
theory, which I execute in Csound.

It doesn’t need any of the microphone stuff.

 

Any recommendations?

 

Many thanks,

David

 

---

Prof David Worrall, PhD

Audio Arts and Acoustics

Columbia College Chicago

33 E Congress Pkwy Room 601N

Chicago, ILLINOIS, USA 60605

Tel: (1)312.369.8821 Fax: (1)312.369.8427

Wikipedia: David Worrall

Personal research/creative practice website: avatar.com.au

President, International Community for Auditory Display icad.org

 

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[Sursound] New Issue of Journal of Sonic Studies (online)

2018-10-11 Thread David Worrall

On behalf of

Prof. dr. M.A. (Marcel) Cobussen
Leiden University Faculty of Humanities
Academy of Creative and Performing Arts
The Netherlands

Journal of Sonic Studies (online)

We are proud to announce that Issue 17 of JSS (http://sonicstudies.org) is now
online. This issue again is a special issue, this time centred around sonic
information design. Guest editors for this issue are David Worrall and Stephen
Barrass. Sonic Information Design refers to the design of sounds to provide
useful information in applications that have impact in our daily lives. The
articles in this special issue of the Journal of Sonic Studies on Sonic
Information Design had their origins as responses to the theme of the 22nd
International Conference for Auditory Display, held in Canberra, Australia in
2016. JSS 17 includes the following papers:

• Editorial: On Sonic Information Design - David Worrall and Stephen Barrass

• Sonic Information Design - Stephen Barrass

• Addressing the Mapping Problem in Sonic Information Design through Embodied
Image Schemata, Conceptual Metaphors, and Conceptual Blending - Stephen Roddy
and Brian Bridges

• Sonifying for Public Engagement: A Context-Based Model for Socially Relevant
Data - Milena Droumeva and Marc St Pierre

• The Planetorium: Sonic Information Design for Earthling Audiences - R.
Michael Winters, Avrosh Kumar, Brianna J. Tomlinson and Bruce N. Walker

• Sonic Information Design for the Display of Proteomic Data - William L.
Martens

• Informative Sound Assists Timing in a Simple Visual Decision-Making Task -
Keith Nesbitt, Paul Williams, Patrick Ng, Karen Blackmore and Ami Eidels

---

Prof David Worrall, PhD

Audio Arts and Acoustics

Columbia College Chicago

33 E Congress Pkwy Room 601N

Chicago, ILLINOIS, USA 60605

Tel: (1)312.369.8821 Fax: (1)312.369.8427

Wikipedia: David Worrall

Personal research/creative practice website: avatar.com.au

President, International Community for Auditory Display icad.org

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[Sursound] Organised Sound - call for submissions - first of two - 25/1 'Computation in the sonic arts'

2018-10-05 Thread David Worrall

 

 

Hello all – I don’t know whether you’ve seen this.

Please pass it on to those potentially interested.

Apologies for doubles.

 

Cheers,

David

 

---

Prof David Worrall, PhD

Audio Arts and Acoustics

Columbia College Chicago

33 E Congress Pkwy Room 601N

Chicago, ILLINOIS, USA 60605

Tel: (1)312.369.8821 Fax: (1)312.369.8427

Wikipedia: David Worrall

Personal research/creative practice website: avatar.com.au

President, International Community for Auditory Display icad.org

 

 

 

 

Organised Sound: An International Journal of Music and Technology

 

Call for submissions

 

Volume 25, Number 1

 

Issue thematic title: Computation in the sonic arts

Date of Publication: April 2020

Publishers: Cambridge University Press

 

Issue co-ordinators: David Worrall (worr...@avatar.com.au) 

 

Deadline for submission: 15 May 2019

 

There are many ways to generate and organise the sounds of a composition. 
Notwithstanding the early precedents in musical dice games and the rules for 
contrapuntal voice leading, the use of formal procedures to make musical 
artifacts without direct human intervention became practicably realisable with 
the availability of digital computers. This occurred in the second half of the 
twentieth century at the same time as artificial intelligence researchers were 
dreaming of a model of the human personage in which bodies and minds were more 
like machines than self-generating organisms. Some composers took the 
opportunity to develop algorithmic procedures to model works of the past, 
others to explore the representation of mathematically defined, natural and 
abstract processes that have no immediate musical connection to music such as 
set and group theory, probability distributions, Markovian stochastics, 
self-similarity, iterated function systems, adaptive networks and other 
combinatorial techniques. More recently, attention has also turned to the 
representation of messy collected data, scraped from the internet, or gathered 
by monitoring human, natural, environmental and other activities.

 

Early collaborations with computational systems were met with some hostility by 
the musical establishment. Arguments ranged from whether or not, in replacing 
parts of the creative process with an automated system, we were dehumanising 
the resultant artifact. Were we cheating by letting the tools do the work? Was 
is it even possible to produce tools which can adequately challenge the 
intensely human “creative” process? Did reason alone have any place in musical 
composition in a domain of human activity which should be driven by feelings, 
intuition, and other non-algorithmic considerations?

 

This issue of Organised Sound seeks articles which go beyond the description of 
how specific compositional procedures are used in individual compositions in 
order to address the social and musicological dimensions of computation, 
specifically focusing on the sonic arts.

 

Suggested themes include but are not restricted to:

· What styles of computational sonic arts exist today? How are they 
defined? 

· What is social context in which they exist?

· Do or should listeners listen differently to music in which computers 
are involved in the creative decision-making?

· In what ways are the computers involve being creative or imitating 
creative processes? Is there a difference?

· Both in creation and performance, how does such work fulfill composer 
and listener needs for artifact formation and artistic communication? 

· What is the role of the ego when composing computationally?

· In socio-cultural environments in which AI research is currently 
faced with difficult conceptual and definitional issues such as embodiment, has 
this affected how computational creativity is considered? 

· In performances where computational algorithms are freely used in 
improvisation, what does it mean for a composition to be well formed? Does it 
matter?

· Is there a role for computational processes in music education?

· Are the compositional situations in which you would not consider 
using procedural approaches? Why?

 

As always, submissions related to the theme are encouraged; however, those that 
fall outside the scope of this theme are always welcome.

 

SUBMISSION DEADLINE: 15 May 2019

 

SUBMISSION FORMAT: 

 

Notes for Contributors and further details can be obtained from the inside back 
cover of published issues of Organised Sound or at the following url:

 

http://journals.cambridge.org/action/displayMoreInfo?jid=OSO=ifc (and 
download the pdf)

 

Properly formatted email submissions and general queries should be sent to: 
o...@dmu.ac.uk, not to the guest editors.

 

Hard copy of articles and images and other material (e.g., sound and 
audio-visual files, etc. – normally max. 15’ sound files or 8’ movie files), 
both only when requested, should be submitted to:

 

Prof

Re: [Sursound] Cellphone tetrahedral

2017-08-18 Thread David Worrall

It is but a contemporary development of the precedent set by Debussy with Jeux.

 

 

David Worrall, PhD

Professor and Chair

Audio Arts and Acoustics Department

School of Media Arts

Columbia College Chicago

President, International Community for Auditory Display icad.org

personal research/creative practice website: avatar.com.au

 

 

From: Sursound <sursound-boun...@music.vt.edu> on behalf of David Pickett 
<d...@fugato.com>
Reply-To: Surround Sound discussion group <sursound@music.vt.edu>
Date: Friday, August 18, 2017 at 3:13 AM
To: Surround Sound discussion group <sursound@music.vt.edu>
Subject: Re: [Sursound] Cellphone tetrahedral

 

It seems that ping pong is the "musical event" of choice. There's 

nothing like being historically aware (cf 1957 stereo demo LPs)!

 

David

 

At 09:36 18-08-17, Steven Boardman wrote:

>http://yun.twirlingvr.com/index.php/home/Lite/lite-en

> 

>They were also going to bring out a stand alone integrated recording

>solution.

>Will download the b-format files and listen in the studio later..

>Looks precarious, and prone to falling out/over/off.  Especially as most

>usb ports are on the bottom and not that tight.

> 

>Steve

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>here, edit account or options, view archives and so on.

 

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Re: [Sursound] Sound Based Composition(surround)

2017-08-17 Thread David Worrall

Another compelling example of aural-dominated visual experience is to observe 
the effect to which the music of a film scene can radically effect not only the 
emotional experience of the experience, but of the meaning of the images 
themselves.

I suspect whether or not the image object(s) is static or in motion is also a 
contributor.

Cheers to all,

David

---

David Worrall, PhD

Professor and Chair

Audio Arts and Acoustics Department

School of Media Arts

Columbia College Chicago

33 E Congress Pkwy Room 601N

Chicago, ILLINOIS, USA 60605

Tel: (1)312.369.8821 Fax: (1)312.369.8427

President, International Community for Auditory Display icad.org

personal research/creative practice website: avatar.com.au

From: Sursound <sursound-boun...@music.vt.edu> on behalf of Peter Lennox 
<p.len...@derby.ac.uk>
Reply-To: Surround Sound discussion group <sursound@music.vt.edu>
Date: Thursday, August 17, 2017 at 3:42 AM
To: Surround Sound discussion group <sursound@music.vt.edu>
Subject: Re: [Sursound] Sound Based Composition(surround)

The motion bounce illusion, where application of an audible transient alters 
the visual conclusion, from two circles passing through each other, to a 
perception of them 'bouncing' off each other, is a good example of audio 
altering visual perception.

it would be simplistic to say that one sense 'dominates' the other, since the 
real point lies in the comparative robustness of cues -the sense with the best 
signal-to-noise ratio is likely to dominate in particular instances.

Dr. Peter Lennox SFHEA

Senior Lecturer in Perception

College of Arts, Humanities and Education

School of Arts

e: p.len...@derby.ac.uk<mailto:p.len...@derby.ac.uk>

t: 01332 593155

https://derby.academia.edu/peterlennox

https://www.researchgate.net/profile/Peter_Lennox

University of Derby,

Kedleston Road,

Derby,

DE22 1GB, UK

From: Sursound <sursound-boun...@music.vt.edu> on behalf of Augustine Leudar 
<augustineleu...@gmail.com>

Sent: 16 August 2017 22:14:46

To: Surround Sound discussion group

Subject: Re: [Sursound] Sound Based Composition(surround)

This is true too Dave - I know of one audio cue in particular (to do with a

football bouncing off a wall) that can alter the way you see the way the

ball moves - Ill have to dig it out. It really sucks being a sound artist

sometimes ! oh so you're an audio guy What's a sound artist ? What like

a sound engineer ? or a sound designer ? oooh a jumped up button pusher

with delusions of grandeur

On 16 August 2017 at 20:06, Dave Malham <dave.mal...@york.ac.uk> wrote:

I, too, agree with Augustine. A point though that I would make, on the side

so to speak, is, do not assume that visual cues always override audio ones.

It is quite common for visual arts people to assume that the visual

overrules everything else but, although not as common, audio perceptions

can override visual ones at times. Anyway, good luck with your phd.

 Dave

On 16 August 2017 at 15:29, Peter Lennox <p.len...@derby.ac.uk> wrote:

> Wot he said...

> 

> Dr. Peter Lennox SFHEA

> Senior Lecturer in Perception

> College of Arts, Humanities and Education

> School of Arts

> 

> e: p.len...@derby.ac.uk

> t: 01332 593155

> 

> https://derby.academia.edu/peterlennox

> https://www.researchgate.net/profile/Peter_Lennox

> 

> University of Derby,

> Kedleston Road,

> Derby,

> DE22 1GB, UK

> 

> 

> -Original Message-

> From: Sursound [mailto:sursound-boun...@music.vt.edu] On Behalf Of

> Augustine Leudar

> Sent: 16 August 2017 15:25

> To: Surround Sound discussion group <sursound@music.vt.edu>

> Subject: Re: [Sursound] Sound Based Composition(surround)

> 

> As you probably know visual and other cognitive cues often override audio

> cues (see wallachs amazing cylinder experiment from 1940). I like to play

> with peoples minds in my installations and create illusions with sound -

> but these can be massively aided by the careful manipulation of cognitive

> and visual cues - for me for example the choice of location and how it

> looks is just as much a compositional decision as the choice of sounds,

> every sensory experience people have from the sight of a speaker, to the

> smell of the environment will have an associated meaning for listeners

and

> effect how they hear things, and how believable the world you are trying

to

> transport them to is..

> Cognitive cues are massively influential on how we hear and experience

the

> world - from branding to deciding one person has something more important

> to say because you know their name, etc etc - you can completely override

> audio cues - or massively enhance them if you

[Sursound] summary of everything (in the guise of a Sennheiser Ambeo mic critical/comparative review)

2017-04-25 Thread David Worrall

Hello all,

 

(I’ve survived moving continents twice since last posting. Now holed up mit 
Family in Chicago).

I’m about 3-4 years behind on ambsionic research and now I’m introducing it to 
a largely ignorant cohort here.

 

My trusty TetraMic is working well, as long as ambient RF is not too bad.

 

I am interested to see the latest product scrutiny by members of this esteemed 
group.

 

I was initially looking for a review of the Sennheiser Ambeo mic but I must 
admit to being defeated by the seeming lack of a search function in the 
surround archives.

Is there anywhere/anyone maintaining a searchable version?

Failing that, can someone please point me to a decent critical –even 
comparative-review of this machine?

 

I’d also like to read the list’s latest thoughts on current (3rd order etc) 
mics.

 

And lastly, (as if that’s not enough) could you all post (or email me) your 
sites and list what’s special about them?

 

Sorry to be a pest, but I have to being the evangelizing process here!

 

 

Kind regards to you all,

 

David

 

 

 

 

 

---

David Worrall, PhD

Professor and Chair

Audio Arts and Acoustics Department

School of Media Arts

Columbia College Chicago

dworr...@colum.edu

33 E Congress Pkwy Room 601N

Chicago, ILLINOIS, USA 60605

Tel: (1)312.369.8821 Fax: (1)312.369.8427

President, International Community for Auditory Display icad.org

personal research/creative practice website: avatar.com.au

 

 

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[Sursound] Fwd: [Icad] CFP: TSDS 2015 - Tsukuba, Japan

2015-08-03 Thread David Worrall

apologies for doubles…
D.


Begin forwarded message:

 From: Hiroko Terasawa teras...@slis.tsukuba.ac.jp
 Subject: [Icad] CFP: TSDS 2015 - Tsukuba, Japan
 Date: 4 August 2015 3:34:58 am AEST
 To: i...@santafe.edu i...@santafe.edu
 
 International Workshop on Time Series Data Sonification
 in conjunction with Tsukuba Global Science Week
 29-30 September, 2015 - Tsukuba
 
 Website: http://slis.tsukuba.ac.jp/lspc/events/TSDS2015.html 
 
 Call for Participation
 We are delighted to announce that the International Workshop on Time Series 
 Data Sonification (TSDS2015) will be held on 29-30 September 2015, in 
 Tsukuba, Japan, as a part of Tsukuba Global Science Week (TGSW2015).
  Global phenomena that unfold in sequence are generally represented 
 in the form of time series data. In this interdisciplinary workshop, we aim 
 to establish a collaborative relationship among international researchers 
 from various fields, to address the issues and problems that are commonly 
 found in interfacing people and time-series data with sound, and to discover 
 the exciting directions for future research in the field.
 In addition to the invited talks, we are now looking for your 
 contribution for either short (5-10 minutes) or long (15-20 minutes) 
 presentations. Topics include but are not limited to:
 - Time series data sonification
 - Real-time sonification and interaction
 - Introduction of time series data for potential sonification projects
 - Perception and cognition
 
 This workshop is free and open to public. Registration is not required, but 
 highly recommended due to limited space.
 
 Key Dates
 Registration open: July 9, 2015
 Abstract submission due: August 20, 2015
 Notification of acceptance: August 25, 2015
 
 Invited Talks
 - David Worrall (Fraunhofer-Institute for Integrated Circuits IIS, Germany)
 “Using Polymedia Sonification for Digital Network Monitoring: The Netson 
 project
 - Masaki Matsubara (University of Tsukuba, Japan) and Takahiko Uchide (AIST, 
 Japan) 
 Interactive Multiple Seismic Waves Sonification for Data Exploration
 - Visda Goudarzi (University of Music and Performing Arts Graz, Austria)
 “Data Listening is Hear!
 - Naofumi Aoki (Hokkaido University, Japan)
 Sound Programming Using MATLAB
 - Grace Leslie (Singapore University of Technology and Design, Singapore, and 
 Massachusetts Institute of Technology, USA)
 Sonification of EEG and Expressive Movement for Affective Neurofeedback”
 - Makio Kashino (NTT Communication Science Laboratories, Japan)
 Sonification of a Player’s Physical / Mental States for Sport Training
 - Hiroko Terasawa (University of Tsukuba, Japan)
 Auditory Gestalt, Interaction, and Emotion: Perceptual and Cognitive 
 Issues in Data Sonification of Biological Data
 - Thomas Hermann (University of Bielefeld, Germany)
 Levels of Time and Space in Data Exploration and Interactive 
 Sonification
 - Yota Morimoto (Royal Conservatory of the Hague, The Netherlands) 
 “Sound Design in Sonification
 
 
 Invited Installations and Performances
 - Brain dreams Music by .pf (Kiyoshi Furukawa and collaborators)
 - EEG sonification by Grace Leslie
 - NetSon project by David Worrall
 
 Schedule and venue
 This workshop will be held as a part of Tsukuba Global Science Week 
 (TGSW2015), 9/28-30 2015, at Tsukuba International Congress Center. More 
 details are available at the main TGSW website. 
 
 Organizers
 General Chair: Hiroko Terasawa (University of Tsukuba) 
 Contact: tsds.committee [at] gmail.com
 
 Program committee:
 Hiroko Terasawa (University of Tsukuba)
 Masaki Matsubara (University of Tsukuba)
 Makio Kashino (NTT communication science laboratories) 
 Atsushi Marui (Tokyo University of the Arts) 
 
 Supported by:
 Research Center for Knowledge Communities, University of Tsukuba
 Faculty of Library, Information and Media Science, University of Tsukuba
 Japanese Society for Sonic Arts
 IPSJ special interest group on Music and Computer (IPSJ-SIGMUS) (under 
 coordination)
 
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Telefon  +49 (0) 91 31 / 7 76-62 77
Fax  +49 (0) 91 31 / 7 76-20 99
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Re: [Sursound] Noise reduction on Ambisonic files

2014-08-07 Thread David Worrall

 adjacent capsules, in angle space.)
 -- 
 Sampo Syreeni, aka decoy - de...@iki.fi, http://decoy.iki.fi/front
 +358-40-3255353, 025E D175 ABE5 027C 9494 EEB0 E090 8BA9 0509 85C2
 
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Am Wolfsmantel 33
91058 Erlangen
Telefon  +49 (0) 91 31 / 7 76-62 77
Fax  +49 (0) 91 31 / 7 76-20 99
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Re: [Sursound] WFS systems

2014-05-22 Thread David Worrall

and there's a 250-odd channel one here at the Fraunhofer IIS in Erlangen.
D.
On 22/05/2014, at 2:12 AM, Marc Lavallée wrote:

 There's a WFS installation at U. of Sherbrooke GAUS research lab, 
 with 96 speakers:
 http://gaus.recherche.usherbrooke.ca/
 http://gaus.recherche.usherbrooke.ca/wordpress/wp-content/uploads/2013/01/WFS-salle-940x340.jpg
 --
 Marc
 
 Le Wed, 21 May 2014 20:21:26 -0300,
 Augustine Leudar gustar...@gmail.com a écrit :
 
 oh and IRCAM - IRCAM have a really good one I hear (and one day hope
 to actually hear)
 
 On 21/05/2014, Augustine Leudar gustar...@gmail.com wrote:
 P.S.  I think Disney world/land have one in the haunted house...
 
 On 21/05/2014, Augustine Leudar gustar...@gmail.com wrote:
 I have on here in Ireland - a humble 32 channel one - though I
 often put the speakers in many different configurations and it is
 without a name. Also te University of Salford has a good one as do
 the guys who make soundscape renderer (I think)
 
 On 18/05/2014, Andres Cabrera mantaray...@gmail.com wrote:
 Hi,
 
 I'm wondering if anyone has compiled a list of research WFS
 systems. The TU
 Berlin and the Game of Life systems come immediately to mind, but
 before starting to dig, I wanted to know if someone has already
 done this list.
 
 Also of interest could be companies working on commercial WFS
 systems.
 
 Thanks!
 Andrés
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Fraunhofer-Institut für Integrierte Schaltungen IIS
Am Wolfsmantel 33
91058 Erlangen
Telefon  +49 (0) 91 31 / 7 76-62 77
Fax  +49 (0) 91 31 / 7 76-20 99
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Re: [Sursound] Upcoming Android apps ambisonic related

2013-12-20 Thread David Worrall

I remember reading that, with exposure, human's audio-processing hardware can
adapt to/learn how to use a non-optimal HRTF, given a bit of time.
Does anyone have a reference for this?

David
On 15/12/2013, at 5:57 PM, Marc Lavallée wrote:

Hi Dave.

I never tried head tracking while listening to stereo or Ambisonics (I'm
not that much of an insider). I'm optimistic about it, even with
virtual microphones; but I suspect that the contribution of head
tracking would then be limited to the interpretation of level
differences and transitions between the left and right.

What I miss is a realistic HRTF rendering experience (without head
tracking). For every HRTF I tried (from the KEMAR and LISTEN sets), as
with stereo, front sources were always in the head, not at the front;
the front test tone was just louder then the rear one.

I don't know what are the right conditions to experience good HRTF based
localization (in a acousmatic context, without visual cues). I don't
know if using a personal (measured) HRTF would be better; I just assume
that it would be better because my own binaural recordings sound quite
right, but probably just for me (to be verified) because I experienced
the real sound scenes while recording them.

--
Marc

Sun, 15 Dec 2013 13:50:09 +,
Dave Malham dave.mal...@york.ac.uk a écrit :

Hi Marc,
I think it is, perhaps, a little pessimistic to talk of needing to
assess dozens of hrtf's to find the one that's right for for you, if
you have head tracking in use. My experience with this dates back 20
years to the days of the Lake DSP Huron systems when I first heard
this - even without specific hrtfs switching the the head tracking on
was enough to change the system from not working (for me) to working.
The head tracking (done with a Polyhemus sensor controlling the
processing of FOA B format signals prior to decoding) was enough with
no need to select hrtf's. I would suspect that having just a few to
select from would be enough.

Dave
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Audio Department
International Audio Laboratories Erlangen
Fraunhofer-Institut für Integrierte Schaltungen IIS
Am Wolfsmantel 33
91058 Erlangen
Telefon +49 (0) 91 31 / 7 76-62 77
Fax +49 (0) 91 31 / 7 76-20 99
E-Mail: david.worr...@iis.fraunhofer.de
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Re: [Sursound] , ambi playback configution and calibration

2013-09-25 Thread David Worrall

Hi David,

Thanks for your considered response.

I _was_ actually thinking of it autolocating the speakers. And not necessarily
just for ambisonics, actually. Some sort of a spectrum analyser/preamplifier
device that derived the correct decode/gain controls of the real system
acccording to the actual location of the loudspeakers, decode algorithm and
your preferred listening spot ... and that self-callibrated each time you
turned the system on.

Given how difficult it seems to be for billions of people to set up a 5.1
system, surely there must be a market?

I'm actually surprised that such a device doesn't already exist.
Oh well, back to the stone-age method...

David
On 23/09/2013, at 9:33 PM, Dave Hunt wrote:

Hi,

Date: Thu, 19 Sep 2013 21:50:00 +0200
From: David Worrall worr...@avatar.com.au
To: Surround Sound discussion group sursound@music.vt.edu

Hi All,
I'm away from my back-up of this list (*) so please forgive if this has been
answered before, but

Is there - on the market, or in other form - a setup system/tool that auto
configures a decoder and calibrates an ambisonic playback rig according to
the (actual) position of the loudspeakers?

thanks,
David

Presumably it doesn't have to auto-locate the speakers ?? That would be
clever and probably expensive.

I have something that was built in MAX/MSP, and can turn it into an
application (Mac OS preferred but Windows is probably possible). It is first
order only, up to 16 speakers, and based on all the info about good decoders
I've found, and can understand and implement. Of course it could be extended
to higher orders, once the maths is thought through and the issue of
different kinds of W.

Haven't done this as most of the people I'm dealing with don't have enough
speakers to make it worthwhile or essential. It's basically part of something
else which is trying to do all sorts of ambisonic things with 16 inputs from
a DAW running on the same computer. So, until higher powered computers become
affordable in an income challenged age, processing power has to be carefully
used. Increasing the ambisonic order starts to push up the number of audio
streams that need handling in a non-linear manner. Such a decoder needs
listening to, which means that you have to able to generate something to
listen to to assess how well the encode/decode works, something I haven't had
time to do above 2nd order.

If only there was more time, things got done quicker, or someone was paying
for the work by the hour.

Ciao,

Dave Hunt
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[Sursound] ambi playback configution and calibration

2013-09-19 Thread David Worrall

Hi All,
I'm away from my back-up of this list (*) so please forgive if this has been 
answered before, but

Is there - on the market, or in other form - a setup system/tool that auto 
configures a decoder and calibrates an ambisonic playback rig according to the 
(actual) position of the loudspeakers?

thanks,
David

(*) Is there a way of searching across 
https://mail.music.vt.edu/mailman/private/sursound/?




__
Prof. Dr. David Worrall
Emerging Audio Research (EAR)
Audio Department
International Audio Laboratories Erlangen
Fraunhofer-Institut für Integrierte Schaltungen IIS
Am Wolfsmantel 33
91058 Erlangen
Telefon  +49 (0) 91 31 / 7 76-62 77
Fax  +49 (0) 91 31 / 7 76-20 99
E-Mail david.worr...@iis.fraunhofer.de
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Re: [Sursound] the power of doppler shift illusion

2013-02-25 Thread David Worrall

On 26/02/2013, at 9:01 AM, etienne deleflie wrote:

Jorn,

it turned out that this monster of a piece is unkillable, no matter what we
tried. so this evil little bear of little brain but inexhaustible
mischievousness folded it down to mono, out of pure spite. the sound was
still all over the place. chowning 10, bear 0.

and here's to fake doppler shifts.

I'd say your observation, which I agree with, suggests that space can be
perceived through the identification of sound artefacts that act as
'icons' (Peirce) or 'symbols' of our experience of space. In other words,
the realistic projection of spatial acoustic stimuli owes much of its
success to the fact that we recognise the effect of space on sound
agreed.
see my Space in sound: sound of space. Organised Sound Vol 3 No. 2 Cambridge
University Press (1998) pp 93-99.

... and
accurate spatial projection is, in fact, not required to activate that
recognition (but supports it well, of course)

Also, Chowning's Turenas makes extensive use of the relative relationship
between direct sound and reverberant sound, as a means to perceive
distance. He also uses a directional reverberation, for extremely far
sounds

James Moorer wrote a now classic paper about this, which JC and his generation
used extensively:
http://www.music.mcgill.ca/~gary/courses/papers/Moorer-Reverb-CMJ-1979.pdf

see also
http://christianfloisand.wordpress.com/2012/10/18/algorithmic-reverbs-the-moorer-design/

David

... where what is primarily heard is the reverberant field but it
comes from a specific direction. These may be as responsible, perhaps even
more so than Doppler, for acting as 'icons' of space.

I like Peter's suggestion that Doppler is perhaps best seen as a cue of
something passing. Good cue for revealing if one has missed the bus!

Etienne

--
Jörn Nettingsmeier
Lortzingstr. 11, 45128 Essen, Tel. +49 177 7937487

Meister für Veranstaltungstechnik (Bühne/Studio)
Tonmeister VDT

http://stackingdwarves.net

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Re: [Sursound] Any experience with dome acoustics?

2013-02-18 Thread David Worrall

 the periphery - is it better to try
 to beam the sound directly at the listeners position, or perhaps use a more
 diffuse speaker, facing up into the dome face? There will be space to get
 at least one speaker overhead for all configurations.
 
 Regards, Neil
 
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 -- 
 As of 1st October 2012, I have retired from the University, so this
 disclaimer is redundant
 
 
 These are my own views and may or may not be shared by my employer
 
 Dave Malham
 Ex-Music Research Centre
 Department of Music
 The University of York
 Heslington
 York YO10 5DD
 UK
 
 'Ambisonics - Component Imaging for Audio'
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[Sursound] Ambisonic hydrophone?

2013-02-18 Thread David Worrall

Now you've gotten me into a comms mode ... :-) 

Does anone know of such a beast?
(I thought of putting the TetraMic in a plastic bag, but I'm not sure Len would 
approve :-)

Or how one might go about building one...
Failing which, does anyone have a recommendation on a cost-effective 
single-channel unit?


David
_
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Experimental Composer, Polymedia
Adjunct Research Fellow, Australian National University
david.worr...@anu.edu.au
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Re: [Sursound] OT: Yorkshire's success in 2012 Olympics

2012-08-13 Thread David Worrall


On 13/08/2012, at 6:52 PM, Dave Malham wrote:

 What is even better is we beat the Australians :-) Just wish we could do it 
 in Rugby League...

Many Australians are part Yorkish anyway, so sometimes we have the grace to let 
y'all win on your own soil :-) 
I would have thought Yorkshire would be more chuffed at having stuck it up the 
Londoners...

Of interest to some in this group would be that 2 of the German rowing teams 
(4's and 8's) that won gold so convincingly, trained with sonification.

David
PS Michael. The version of your ditto that I grew up with is
All is mad in the world but me and thee,
And even thou art a little mad.
 
 
 On 09/08/2012 22:51, Gerald Wilson wrote:
 Doubtless you'll recall that California's economy (compared with other 
 *countries*) ranks high in the world's top ten (5th in 1984; slipped back a 
 few places in these hard times...)
 
 It's now well-publicised that Yorkshire, were it a country in its own right, 
 would rank around 12th in the Olympics medals table...
 
 So well done Dave Malham, et al.
 
 Gerald WW
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 /* The University of York  Phone 01904 322448*/
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Re: [Sursound] Powering the DR-680

2011-09-11 Thread David Worrall

Hi Jascha,

I trust you're referring to
http://www.ebay.com/itm/ws/eBayISAPI.dll?ViewItemitem=28064464

Yep - I have been using one with my DR-680 - lots of recordings with all  chan. 
simultaneously.

I  have no complaints - in fact, I've just ordered a second one so I can do 
round-the-clock recordings.
There are no instructions so it took a moment to work out how to charge it, but 
it's AOK from my perspective.

David

On 11/09/2011, at 10:13 AM, Jascha Narveson wrote:

 
 Hi, list -
 
 To pick up on this older thread:  has anyone tried this particular cheap Li 
 battery from Hong Kong?  Did it burst in to flame as John warned that it 
 might?
 
 It seems this might be a better bet - I somehow trust the higher price, 
 though I'm wondering if that's justified...
 
 http://www.bhphotovideo.com/c/product/503090-REG/Tekkeon_MP3450_MP3450_myPower_ALL_Universal.html
 
 cheers,
 
 j
 
 
 
 
 
 On Apr 19, 2011, at 10:33 AM, John Leonard wrote:
 
 You do need to be a bit careful with some of this stuff from Hong Kong; some 
 older types of Li-Ion battery have a nasty habit of bursting into flames 
 unexpectedly.
 
 Regards,
 
 John
 
 
 
 On 19 Apr 2011, at 00:04, Brian Dasilva wrote:
 
 Go to ebay and search for sale #   28064464 This is a  6800mah Li 
 Battery  I think this would work out of the box.  It is cheap but it IS in 
 Hong Kong... (puts us all on a level field) I'm going to try itBrian
 
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IT Projects, Music Council of Australia 
worrall.avatar.com.au   sonification.com.au
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Re: [Sursound] Ambisonics not on the cheap

2011-07-30 Thread David Worrall

ambisonic system hanging from
a 20 by 20 foot truss in the next month. I have heard that the more speakers
you can add to a system, the better it will sound. Is that true? With higher
speaker counts 20, we've had the best results by removing decoder
weightings. We seem to hear a better sense of localization for our synthetic
recordings. I had an idea that this changes the decay rate of cosines in
what is essentially a vector projection, so each speaker occupies a smaller
slice of the surround field pie. Is that anything close to correct? What
would be the optimum number and configuration of speakers for a 20' dome?
(assuming equipment is not an issue)

Ok, now the offer! Being at a place that has a lot of resources, but little
time and man-power, I wanted to offer up our inventory of equipment to the
community. We have about 90 speakers that we keep around for projects or
touring. If anyone is working on a project that could benefit from extra
speakers, drop me a line. If we've got the gear free, you're welcome to it.
It's a mish-mash of Bowers and Wilkins, Duran Audio Axys, and Mackie 824s.
We drive our systems with MOTU, RME, and SSL MADI interfaces. Also, if
people are interested in testing things on this 20x20 dome and want to come
down to Boston (it'll be up in September and October), we'd be honored to
have you as guests!

Best wishes,
Ben

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Re: [Sursound] Distance perception (really speaker wire discussion!)

2011-07-28 Thread David Worrall


a: in the northern hemisphere - because there are more people (masses- Kyrie 
Eleison!) and
b: in the southern hemisphere - which is why the electroacoustic music is so 
'advanced' there

drw

On 28/07/2011, at 4:50 PM, dave.mal...@york.ac.uk wrote:

 Hang on, hang on - if the electrons exceed the speed of light then either
 
 a: their mass will go infinite and the cable will implode into a mini black 
 hole
 
 or
 
 b: they will decay into tachyons resulting in the sound coming out of the 
 speaker before it has even been recorded
 
 
   Dav M.
 
 On Jul 27 2011, David Worrall wrote:
 
 I have been browsing this list long enough to observe that this phenomena 
 only occurs (or at least is only reported, on this list, albeit with annual 
 regularity) in Northern Hemisphere summers.
 
 Down under, the summers are so hot that the electrons want to pass through 
 cable as quickly as possible, so they exhibit an exact opposite 
 characteristic: Temporal Intensification Dilation (also DIT, unfortunately); 
 thought to be the caused as them exceeding the speed of light in order to 
 'get the f*** outa there'.
 
 The phenomena can be reversed, or at least alleviated from a 3rd person 
 perspective, by plugging the cables into a live mains socket and biting hard 
 on the other end.
 
 David
 On 28/07/2011, at 3:42 AM, Sampo Syreeni wrote:
 
 On 2011-07-27, umashankar mantravadi wrote:
 havent you heard of tired electron distortion ? (TID). the electrons in 
 speaker wire get tired moving back and forth and not going anywhere. the 
 solution is to disconnect the speaker every few hours connect a battery 
 one side and short the other, so all the old electrons can be flushed out 
 (i think i read this in the wireless world)
 Alternatively you can have spare cables, and slowly drain them over night 
 in an upright position.
 -- 
 Sampo Syreeni, aka decoy - de...@iki.fi, http://decoy.iki.fi/front
 +358-50-5756111, 025E D175 ABE5 027C 9494 EEB0 E090 8BA9 0509 85C2
 

 
 
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david.worr...@anu.edu.au
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Regional Editor, Organised Sound (CUP) 
IT Projects, Music Council of Australia 
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Re: [Sursound] Distance perception (really speaker wire discussion!)

2011-07-27 Thread David Worrall

I have been browsing this list long enough to observe that this phenomena only 
occurs (or at least is only reported, on this list, albeit with annual 
regularity) in Northern Hemisphere summers.

Down under, the summers are so hot that the electrons want to pass through 
cable as quickly as possible, so they exhibit an exact opposite characteristic: 
Temporal Intensification Dilation (also DIT, unfortunately); thought to be the 
caused as them exceeding the speed of light in order to 'get the f*** outa 
there'. 

The phenomena can be reversed, or at least alleviated from a 3rd person 
perspective, by plugging the cables into a live mains socket and biting hard on 
the other end.

David
On 28/07/2011, at 3:42 AM, Sampo Syreeni wrote:

 On 2011-07-27, umashankar mantravadi wrote:
 
 havent you heard of tired electron distortion ? (TID). the electrons in 
 speaker wire get tired moving back and forth and not going anywhere. the 
 solution is to disconnect the speaker every few hours connect a battery one 
 side and short the other, so all the old electrons can be flushed out (i 
 think i read this in the wireless world)
 
 Alternatively you can have spare cables, and slowly drain them over night in 
 an upright position.
 -- 
 Sampo Syreeni, aka decoy - de...@iki.fi, http://decoy.iki.fi/front
 +358-50-5756111, 025E D175 ABE5 027C 9494 EEB0 E090 8BA9 0509 85C2
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Adjunct Research Fellow, Australian National University
david.worr...@anu.edu.au
Board Member, International Community for Auditory Display
Regional Editor, Organised Sound (CUP) 
IT Projects, Music Council of Australia 
worrall.avatar.com.au   sonification.com.au




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Re: [Sursound] the recent 2-channel 3D sound formats and their viability for actual 360 degree sound

2011-07-09 Thread David Worrall

[Hello to all - It was good 2 C some of you at ICAD Budapest - and +ve 2 C a
deal of activity in ambisonics for auditory design.]

On 09/07/2011, at 6:40 AM, Fons Adriaensen wrote:

On Fri, Jul 08, 2011 at 02:06:37PM -0600, Bearcat M. Sandor wrote:

The ear canal is just a tube, so there's no
directionality once the waves are in there.

Two words act as special alarms to me. In finance: secret and in
phenomenology: just.

The ear canal is no less than just a tube than is a didgeridoo at the lips of
an experienced player.

One can certainly say the ear canal is tubular but it is not just a tube
because, for eg,
a) tube cannot be assumed to be regular, but arbitrarily complex, is
arbitrarily flanged at both ends
b) it has a transverse piece of sound-sensitive skin (the 'drum'), to which is
attached other 'stuff'
c) it is part of a head which has a brain in it that is also connected other
sense receptors, including the vestibular labyrinth etc etc and that it has
extensive experience using it/them to perceive events in external and internal
environs, etc etc etc. as well as efference copy-being aware that a movement is
one's own and not the world's.

Related to (c), does anyone have any reports of empirical experiments on the
brain's ability to learn/adapt to HRTF encoded signals encoded for 'foreign'
ears?

David

Once they are in there. Which is why you can make things
work with headphones plus head motion tracking.

When using speakers, the sound has to get 'in there' first.
And you are allowed to turn and otherwise move your head,
so even when e.g. seated you can (and will) explore the sound
field around it, and your brain will correlate your movements
with the changes of the sound entering your ears. So getting
the right sound 'in there' is not just a matter of recreating
the sound field at the two points where your ear canals would
be if your head were clamped into a vise. You have to create
something matching the field of a real source at least in the
near vicinity. And it turns out you can't do that without energy
arriving from more or less the right direction.

Ciao,

--
FA

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Re: [Sursound] Domestic speaker layout (was Re: Minim AD7 for sale)

2011-05-12 Thread David Worrall

On 13/05/2011, at 3:35 AM, Jörn Nettingsmeier wrote:
On 05/03/2011 09:29 AM, Aaron Heller wrote:
2011/5/2 Jörn Nettingsmeiernetti...@stackingdwarves.net:

those slightly more speakers than necessary cases are a bit tricky...
first order over a 24 hemisphere is horrible,

At the 2008 demo I wrote about, other that the anomaly at the exact
center, I thought it sounded pretty good. So did most of the 60 or so
people who came though during the evening. Definitely not horrible.

ah well, bad choice of words. below expectations would have been better.
the IEM cube (24 speaker hemisphere)

I looked at the photo here: http://iem.at/services/studios/cube
And I fail to see a hemisphere.
In any event, how does a cube become hemispheric? Or is this just a flowery use
of language?

David

does not work very well for first-order, but then their standard decoders are
not ambisonic by the usual standards in that they don't employ shelf
filtering. in 3rd order, it sings beautifully. when you use just a subset,
say six in the horizontal, localisation is definitely improved.

There was a quite convincing sense of the space in which the
recordings were made. In the Stravinsky recording, you hear the
reverberation of the brass instruments moving around the hall, as it
actually does. In the recording of the piano recital, you can hear a
slight slap echo from the front of the balcony above and behind the
microphone. The contrast from indoors to outdoors is especially
striking. As I said earlier, the envelopment and accuracy of timbre
are the keys for me -- they draw you into the performance.

agreed. i never found anything amiss with envelopment when using more
speakers than optimal for any given order, but localisation suffers.

the most striking experience of horizontal first-order degradation over
eight speakers was in the sala bianca in parma, using virtual ambisonic
speakers on their wfs system. fons demo'ed ambi rendering, and we switched
between six and eight sources.

Could you describe what you heard? I'm genuinely curious.

from memory (it's been a while), the sound sources seemed to widen
considerably with eight speakers.
also, the timbre seemed a bit duller. i found the same on other occasions:
first-order over eight seems less bright than over four or six. you can fix
this with a bit of treble shelf boost to taste, and that will usually get rid
of any clear preference your listening subjects might have, but it does
indicate that there is more combing going on at HF.

--
Jörn Nettingsmeier
Lortzingstr. 11, 45128 Essen, Tel. +49 177 7937487

Meister für Veranstaltungstechnik (Bühne/Studio)
Tonmeister VDT

http://stackingdwarves.net

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Re: [Sursound] Domestic speaker layout (was Re: Minim AD7 for sale)

2011-05-12 Thread David Worrall

On 13/05/2011, at 7:26 AM, Fons Adriaensen wrote:

On Fri, May 13, 2011 at 07:13:49AM +1000, David Worrall wrote:
I looked at the photo here: http://iem.at/services/studios/cube
And I fail to see a hemisphere.
In any event, how does a cube become hemispheric? Or is this just a flowery
use of language?
That picture is a 'panoramic view', a 360 degree picture folded open
into a plane. Each of the walls that appear curved is in reality
perfectly straight and at right angles to the two besides. The room
is more are less a cube, and the speaker setup is indeed an hemisphere.

Thanks for the clarification!
As someone who builds hemispheric spaces with 3D ambisonic playback
( http://www.avatar.com.au/worrall/index.php/polymedia-event-theatres ), I'm
interested in connecting with others doing the same.

I do wonder whether anyone is taking into account the effect of the interaction
of a hemispherical field 'source' with its parallelepiped (room) enclosure.

David
--
FA

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Re: [Sursound] Question regarding UHJ Encoding - Decoding

2011-05-06 Thread David Worrall

Given the almost universal acceptance of WP as the font of all information, it 
might be worth someone(s) from this group putting a 'watch for changes on this 
page' tag on the Amb. pages.

drw

On 06/05/2011, at 7:15 AM, Paul Hodges wrote:

 --On 06 May 2011 03:15 + Richard Lee rica...@justnet.com.au wrote:
 
 The Decoding eqns however, though supposedly coming from the same source,
 add an erroneous 1/sqrt(2) factor.
 
 I have corrected these equations on Wikipedia.
 
 Paul
 
 -- 
 Paul Hodges
 
 
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david.worr...@anu.edu.au
Board Member, International Community for Auditory Display
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Re: [Sursound] Powering the DR-680

2011-04-18 Thread David Worrall

I will too. Thanks 4 the lead (so to speak). And we can compare notes.
drw
On 19/04/2011, at 9:04 AM, Brian Dasilva wrote:

 Go to ebay and search for sale #   28064464 This is a  6800mah Li Battery 
  I think this would work out of the box.  It is cheap but it IS in Hong 
 Kong... (puts us all on a level field) I'm going to try itBrian
 
 
 
 
 
 The DR-680 is powered either by eight AA cells, or via a 12v DC input from a 
 wall-wart PSU or an external battery back. The pack I'm using provides 12 
 volts, so just plugs straight in.
 
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david.worr...@anu.edu.au
Board Member, International Community for Auditory Display
Regional Editor, Organised Sound (CUP) 
Projects Officer, Music Council of Australia 
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Re: [Sursound] Powering the DR-680

2011-04-17 Thread David Worrall

Thanks John, I see. so it plugs into the power socket.
(I've just purchased a DR-680 in anticipation of getting a couple of Len's 
Little Marvels for field recording, so was wondering.)
Neat machine!

David
On 18/04/2011, at 10:41 AM, John Leonard wrote:

 David,
 
 The DR-680 is powered either by eight AA cells, or via a 12v DC input from a 
 wall-wart PSU or an external battery back. The pack I'm using provides 12 
 volts, so just plugs straight in.
 
 Regards,
 
 John
 
 On 18 Apr 2011, at 01:24, David Worrall wrote:
 
 Hi John,
 Does this unit plug into the AC socket on the DR-680 or how?
 
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T : +61 (0)2 61.61.95.22M: +61 (0)4.02.28.36.90



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[Sursound] The 17th International Conference on Auditory Display (ICAD)-Online submissions now open

2011-01-23 Thread David Worrall

 research, especially if  
it is some kind of machine, tool, software application - anything  
dealing with sound to help easing blind people’s life. If there will  
be more options, we can rotate the groups between „stations”. Please  
send your comments, ideas and application/proposals for this workshop- 
day directly to György (George) Wersényi by e-mail to the following  
address with subject „Blind Workshop Day”: icad.budap...@gmail.com


For participating in the Sonification Contest or in the Student  
ThinkTank, please visit the website for further information and  
downloadable data.


Awards for best paper and best poster will be given by the board.  
Based on the reviewers’ opinion, selected papers will have the  
possibility to publish their work in a special issue of the JAES.




Committees/Contacts, ICAD 2011

Conference and Program Chairs: György WERSÉNYI, Széchenyi István  
University


Papers/Posters Chair: David WORRALL, Australian National University

Demonstrations/Compositions/Aural Chair: Mikael FERNSTRÖM, University  
of Limerick


Student Consortium ThinkTank Chair: Paul VICKERS, Northumbria University

Webmaster: Gergely KVOJKA, OPAKFI

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Re: [Sursound] the facebook group

[Sursound] Rode's Ambisonic library [was Re: Comparison Sennheiser Ambeo mic vs. Rode NT-SF1?]

Re: [Sursound] The Acoustics of Domes

Re: [Sursound] a general reference for ambisonics encode, decode theory?

[Sursound] a general reference for ambisonics encode, decode theory?

[Sursound] New Issue of Journal of Sonic Studies (online)

[Sursound] Organised Sound - call for submissions - first of two - 25/1 'Computation in the sonic arts'

Re: [Sursound] Cellphone tetrahedral

Re: [Sursound] Sound Based Composition(surround)

[Sursound] summary of everything (in the guise of a Sennheiser Ambeo mic critical/comparative review)

[Sursound] Fwd: [Icad] CFP: TSDS 2015 - Tsukuba, Japan

Re: [Sursound] Noise reduction on Ambisonic files

Re: [Sursound] WFS systems

Re: [Sursound] Upcoming Android apps ambisonic related

Re: [Sursound] , ambi playback configution and calibration

[Sursound] ambi playback configution and calibration

Re: [Sursound] the power of doppler shift illusion

Re: [Sursound] Any experience with dome acoustics?

[Sursound] Ambisonic hydrophone?

Re: [Sursound] OT: Yorkshire's success in 2012 Olympics

Re: [Sursound] Powering the DR-680

Re: [Sursound] Ambisonics not on the cheap

Re: [Sursound] Distance perception (really speaker wire discussion!)

Re: [Sursound] Distance perception (really speaker wire discussion!)

Re: [Sursound] the recent 2-channel 3D sound formats and their viability for actual 360 degree sound

Re: [Sursound] Domestic speaker layout (was Re: Minim AD7 for sale)

Re: [Sursound] Domestic speaker layout (was Re: Minim AD7 for sale)

Re: [Sursound] Question regarding UHJ Encoding - Decoding

Re: [Sursound] Powering the DR-680

Re: [Sursound] Powering the DR-680

[Sursound] The 17th International Conference on Auditory Display (ICAD)-Online submissions now open

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