Re: [Sursound] Ambisonic UHJ Discography Web Site is Down

[seva]

just imagine WWMAGD






At 19:38 -0700 12/7/11, Mark Anderson wrote:

OMG I have started a format war!
I am still hurting after investing so much in DVD-Audio and SACD. Now it's
Bluray and don't let us forget all the matrix formats (Software & Hardware)
I have bought.
Thanks to both of you for your interest in surround, although I might have
just discovered new conversation not to start at a gathering like politics,
sex & religion ;-)

Cheers to everyone for the interest in music surround


-Original Message-
From: sursound-boun...@music.vt.edu [mailto:sursound-boun...@music.vt.edu]
On Behalf Of Richard
Sent: Wednesday, December 07, 2011 2:07 PM
To: Surround Sound discussion group
Subject: Re: [Sursound] Ambisonic UHJ Discography Web Site is Down

True, and your attitude is what's wrong with this world nowadays. it's
"let's not help anyone out, it doesn't suit me"

You know what, i think i'll start taking that attitude from this very minute

Thank you for waking me up
  I'd also note that it's entirely up to me what content I regard as
  appropriate or otherwise for my sites.

  Best,
  --Richard E

  On 07/12/2011 12:47, Richard wrote:
  > I'll just say, I totally disagree with what you've just said. Quad and
Ambisonics are members of the same, much maligned, family, and to disregard
one of member is not right
  >
  >
  >I'd be happy to host the Ambisonic Discography on ambisonic.net if
that
  >would help. Obviously the other areas wouldn't be appropriate so if
you
  >want to keep them together that wouldn't be too helpful.


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Re: [Sursound] OT: Spatial music

[seva]

i firmly believe there are existing and evolving areas for use of 
immersive audio.


movies, anyone? i'd prefer to have something other than 5, 6, 7 .1 
formats with various implementations (3 across front, 5 across front, 
1 center, 2 sides, whatever) that simply gives a better immersive 
experience to the audience.


games, anyone?  as mentioned later in this thread, head-tracking 
systems combined with immersive audio would be a rather serious 
elephant in the room for the Very Large Money in gaming.


Seva D. L. Ball
Audio Engineering / Systems
Soundcurrent Mastering
AES, NARAS, ARSC, IASA, F&AM


At 11:12 -0400 4/3/12, newme...@aol.com wrote:

Peter:


 So, if that's right, stereo is predicated on quite a specialized  musical

presentation.

Correct!  This is the "presentation" that  comes along with "perspective"
in Renaissance painting and the "linearity" of  printed books, etc.

It is a product, if you will, of the Gutenberg Galaxy -- which, in  turn,
started to unravel in the 19th century, yielding "electric" music and  ending
the "classical" period in composition.

This is, perhaps, why the Bell Labs experiments that yielded the 3-channel 
stereo (which they determined was the "minimum" needed to actually produce

a  "solid" musical image, especially for an audience) was discussed in  the
1934 "Symposium on Auditory Perspective."

_http://www.aes.org/aeshc/docs/bell.labs/auditoryperspective.pdf_
(http://www.aes.org/aeshc/docs/bell.labs/auditoryperspective.pdf)

So, on this account, you might expect that some music that "preceded" the 
imposition of this EYE-based conformity would exhibit more respect for the 
"surround," just as you would expect that some music that "followed" the 
relaxing of this *environmental* constraint might also begin to explicitly 
investigate the *spherical* nature of sound.


That is, of course, exactly what seems to have happened!

None of which, however, changes the fact that in the electric era -- the 
first and only media environment which created MASS audiences -- music

continued  to be largely an expression of the "unconscious" orientation for
"perspective"  (i.e. linear, eye-based, frontal performances), which 
then became a

very  "conscious" part of the commercialization of "performances" -- in our
own  living-rooms.

It would have to wait for the further shift from *electric* to *digital* 
media environment for all of this -- both the linearity of Gutenberg and the 
"chaos" of "modernity" -- to begin to appear as arbitrary and merely

historical  "accidents."

Now, we are ready for Ambisonics (but not as a mass-market phenomenon) . . 
. as we all become MEDIEVAL (or, if you prefer, post-modern) once again!!


Mark Stahlman
Brooklyn NY


In a message dated 4/3/2012 10:44:35 A.M. Eastern Daylight Time,
p.len...@derby.ac.uk writes:

I've  always assumed that frontal, proscenium arch -type presentations came
out of  the logistics of clocking large numbers of musicians together -
generally  using a visual cue in the form of a conductor (also, individual
musicians  might feel a bit lonely if they can't hang out with their mates) -
and this in  turn helped reify the distinction between the music makers and
the music  listeners.
In other musical forms (music to have your dinner by, Telemann,  lounge
music, ambient, scallywags employed to amuse the medieval court , up  there in
the minstrels gallery, modern club music, wedding party celebration  music,
religious music [various cultures] etc etc) 'front' would have less, if 
any, relevance.

So, if that's right, stereo is predicated on quite a  specialised musical
presentation.

So, then, saying 'stereo is all you  need' is a bit like saying 'you don't
need 4 wheel drive' - true, but in  circumscribed circumstances.

Dr Peter Lennox
School of Technology 
University of Derby, UK

tel: 01332 593155
e:  p.len...@derby.ac.uk 



-Original Message-
From:  sursound-boun...@music.vt.edu [mailto:sursound-boun...@music.vt.edu]
On Behalf  Of Dave Malham
Sent: 03 April 2012 09:49
To: Surround Sound discussion  group
Subject: Re: [Sursound] OT: Spatial music

Hi  Robert,
Umm - I was making exactly the opposite point -  invented in the
16th century makes it, as far as music is concerned, a very  new
concept. On the other hand,when talking about  "acoustic  _concert_
music", it's almost tautologous that they are frontally  presented,
because the whole concept of a musical concert was invented at  the
same time, probably as a way of making money (I haven't  researched
that, it's just a guess) - it's much more difficult to make  money from
an audience who can just walk away without embarrassing  themselves -
and if you don't believe that (the fear

Re: [Sursound] OT: Spatial music

[seva]

yes indeed. perfect example.
and easily applied to gaming (i use that adjective with tongue 
approaching cheek).
imagine the laser quest with HUD in a room, with virtual fighters, 
and true sound placement around you. kids would (of all ages) pony up 
large money for such an experience.


but for me, i'd really like some tools to use in film mixing (even 
with the distributed Ls and Rs speakers). anyone on the list care to 
tell me what tools might be best, or "why it just won't work"? the 
idea is to simply improve location and immersive aspects of film 
sound, whether played in a theatre or in home theatre.  (yes, assume 
the home has a decent home theatre playback, and by decent, i include 
something like a Bose-qulality system with 5 small satellites --not 
full range-- and appropriate sub, such as the one bob ludwig uses at 
Gateway for clients to listen on as a real world "living room").


would G format *not* benefit this type of setup at all? (yes! assume 
the speakers are in the right places, ITU layout).





At 8:38 -0400 4/11/12, Neil Waterman wrote:
We have been using ambisonics for several years now to provide 
immersive soundfields for use within the flight simulation and 
training environments. Prior to this we were using gain panning that 
was restrictive and highly coupled to each installation. The use of 
ambi allows us to port a model from one implementation to another 
with little modification to the underlying sound simulation model.


Cheers, Neil

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Re: [Sursound] Can anyone help with my dissertation please? New Title and questions...

[seva]

was it not true that the UK did not, or would not, help to support 
the ambisonic fledgling business due to some frustrating legal 
restriction? this was a major point in the killing of the launch.


in addition, when MAG openly criticized (and mathematically gutted) 
the Quad stuff, he did not make friends with many in the industry and 
they made sure he was sidelined.




At 2:26 +0100 4/11/12, Cara Gleeson wrote:

To all,

I've emailed a few of you individually and am in the process of writing to
others (although I couldn't establish everyones email address'
unfortunately due to a few different names appearing under the same post).
To those that haven't received such an email, thank you for your links and
audio, I have a few more questions...

Absolutely agree my original dissertation question completley lacked
focused and clarity.
Taking onboard what all of you have said my dissertation question is:

*'Given ambisonic's lack of commercial success and lack of* context/content
(?), *why has it persisted for so many years?' OR:
'Given ambisonic's lack of commercial success, why has it persisted for so
many years?'

To also emphasise what is currently being done and what improvements could
be possibly implemented in ambisonic technology for the future?*
***
My literary review*
I also wonder, other than Michael Gerzons biography and a few online
articles as to why ambisonics didn't take off and its now 'coming of age',
would I just explain for the literature review that there really isn't much
literature available for my question, however I have read around the
subject and finding out from the BBC's research department and the experts
(yourselves) and AES conferences and papers as to what has been done over
the years and what is currently being researched? A friend of mine kindly
gave me some  literature on social theory (taking political agendas with a
'pinch of salt'!) and postmodernism. Would this be useful literature to
relate to consumerism and some of the general publics disinterest in new
technolgogy and lack of means?? *Once again am I off target there for
putting that in my literary review?
*
*How do I structure my main text, any suggestions of appropriate subtitles?*
I've read a few books on 'how to write a dissertation' and looked at some
online resources, ive written out the structure below but what I'm asking
for is ideas/subtitles (worded better) for 'the main body of text' which is
in bold.

*Title page
*Acknowledgements
*Abstract
*Introduction
*Methodology
*Literary review
Main body of text

- Few chapters on why ambisonics didn't take off as a commercial household
product...and in other ways..
-Perhaps start with a chapter on what is ambisonics and Blumlein history or
not bother?? I've been given the impression when you write a dissertation
the reader may have no or little knowledge of the subject so a few areas
need to be explained to the reader. Im not sure can anyone help? I've never
been shown how to write a dissertation, believe me I've been asking people
but the answers are rather vague. All I seem to get told is what common
sense would say that every 10,000 word essay has a beginning, middle and
end, would appreciate further elaboration greatly please! I'm used to
writing shorter essays, 10,000 words must seem so short to you all but it's
a new challenge for me!
...Back to early subchapters:
-The failure of quad tarnishing the reputation of surround sound formatting
in the 1970's
-?
-?
- From reading your articles...'Lack of funding backed into ambisonic
technology twenty plus years ago? Pragmatism? Practicalities..
- Make a point that do we really need ambisonics for household use and all
genres of music? Perhaps though great for the enthusiast hearing a B format
recording recreating through listening in ambisonic format the acoustics of
the original room. Unpractical and not interesting to many of public.
Impracticle for consumer households until technolgy adapted or fused with
other technolgies, using less speakers, compatible software/hardware. So
leading to ambisonics failure in 'household sound system sense' HOWEVER!
Not in these ways
-Few chapters on what has kept ambisonics in existance...
-The enthusiasts have helped creating... Wigware plugins, MAXmsp...
-?
-?
-Looking at current technologies...
-Reasearch (the vast amount..)
-3D cinema
-Military training technology
- The implications on medicine such as audio technologies
-The implications on how surround sound formats can have on music itself?
-Binaural 3D sound through headphones (particularly to use for training,
gaming, medicine (?) applications)perhaps for gaming and training in
accordance with J Dome (visual dome for gaming and training giving the
participant  110 degrees of visual information rather than the typical
forty degree view with a usual flat monitor most of us use).
-?
-What could be improved/implemented on in the future**...
*-?
-?

*Conclusion/discussions - *inc. as a success as a domestic 

Re: [Sursound] [allowed] brahma

[seva, soundcurrent mastering]

umashankar, i send my best wishes for the New Year and for your microphone
building!

seva

On Tue, Jan 3, 2017 at 1:46 AM, umashankar manthravadi <
umasha...@hotmail.com> wrote:

> Don't call it tetramic. It will upset len Moskowitz.
> I use a process developed by Angelo Farina's team, using Matlab scripts.
> Initially, I was given permission only to use it, but not share it, but a
> few months ago, Angelo said I can forward the scripts to Marc Lavallee, who
> is modifying them to run on Octave. Octave is a free program, and these
> scripts will be released to public, so it should be possible for anyone who
> builds a tetrahedral microphone to calibrate it and generate filtermatrix
> files. These files can be used with VVEncode (purchased) or X-volver (free)
> to produce B format files.
> In the meantime, I am willing to create filtermatrix files for anyone who
> wants to do their own measurements. (Fons will also do it, but mostly he
> does it for Linux)
> You do not need an anechoic chamber. You need a space with the first
> reflection atleast 2.5 metres away. A room with a five meter high ceiling
> and dimensions of 7.5 meters by 5 meters will be adequate. You can use
> Angelo's inverse sine sweep. I will describe my process in detail if you
> wish, but I am very happy with the imaging I am getting with Brahma
> microphones. The tetrahedral structure printed by Shapeways is very
> accurate, and that helps too.
>
> Umashankar
> Don't use sennheiser's generic filters. Their capsules are also 14 mm, but
> they are spaced much further apart (mine are almost at the theoretical
> minimum). At the AES, the Sennheiser booth was next to Brahma, and many
> people compared the imaging of the two.
>
> Umashankar
>
> Sent from Mail<https://go.microsoft.com/fwlink/?LinkId=550986> for
> Windows 10
>
> From: Bo-Erik Sandholm<mailto:bosses...@gmail.com>
> Sent: Tuesday, January 3, 2017 11:29 AM
> To: sursound<mailto:sursound@music.vt.edu>; glard...@iol.ie<mailto:glardne
> r...@iol.ie>
> Subject: Re: [Sursound] [allowed] brahma
>
> Good luck in your continued effekt.
>
> By the way, i have accuired one of your Tetra mic 3d shapeway for 14 mm
> capsules.
> I have not yet assembler it.
> I Wonder is there any software package and description on How to create
> calibration files for The mic?
> I will probably have The possibility to get temporary access to a anechoic
> room.
> In worst case i Will use the generic calibration from sennheiser :-)
>
> The mechanical size of The tetraeder is about right.
> Bo-Erik
>
>
>
> Den 2 jan. 2017 9:01 em skrev "Gerard Lardner" :
>
> > Sorry to hear of the falling-out. I have had some issues with the
> > build-quality of my Brahma, which was made by Embrace Video, but
> > nevertheless it remains my 'go-to' mic for choral recording.
> >
> > With best wishes for 2017, and for your ongoing Ambisonic microphone
> > projects,
> >
> > Gerard
> >
> >
> > On 02/01/2017 06:57, umashankar manthravadi wrote:
> >
> >> This is just an announcement that Nakul Sood and Embrace video will no
> >> longer be manufacturing or selling Brahma ambisonic microphones. Our
> very
> >> informal arrangement has come to an end as Nakul Sood demanded 1)I hand
> >> over complete technology and manufacturing protocols, 2) sign a
> >> non-disclosure agreement and 3) sign a non-compete agreement. (there
> were
> >> other demands) I have always worked on Brahma as a shared project, with
> >> help from many people and I have no desire to sign a non-disclosure
> >> agreement.
> >>
> >> I had made atleast 20 Brahma microphones before this project began, and
> I
> >> will continue to make one off brahmas as demanded (I am currently making
> >> five second order microphones for Angelo Farina) and I am setting up
> fairly
> >> high tech processes in Bangalore where I now live (laser cut microphone
> >> bodies!)
> >>
> >> Umashankar
> >>
> >>
> > -- next part --
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> > Sursound@music.vt.edu
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Re: [Sursound] A mic array I don't recognise

[seva, soundcurrent mastering]

they’re cardioid. look for the pattern on a capsule you’ll find it.

expanded XY, 110deg
corner quadrant vertical stereo pairs

plus

an omni down below close spaced.

and two spaced schoeps further out, one visible in top left of picture.
higher up than the clusterschoeps.


-seva
sequoyahstudios.com
retired
senior application engineer, associate founder, Waves



On Tue, Aug 28, 2018 at 10:45 David Pickett  wrote:

> At 22:17 20-08-18, Paul Hodges wrote:
>
>  >Can anyone tell me about this microphone array?
>  >
>  ><https://cassland.org/images/query.jpg>
>
> Yes.
>
> Fact: It's expensive (8 Schoeps colette cardioid
> capsules and amplifiers = €/$ 12,000)
>
> Opinion: In comparison with an Octomic, it's a waste of time and money.
>
> David
>
> ___
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>
> --
best
seva

s...@soundcurrent.com
www.soundcurrent.com
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[Sursound] Fwd: audeze

[seva, soundcurrent mastering]

hi all round,

yes, a joke there.

anyone have a view on *audeze tetrahedral*? seems like with a 100mm
diaphragm the inter-capsule distance is too big.



-- 
*seva*
Chief Engineer Sequoyah Studios
recording - mixing - mastering - archiving - forensic - post
sequoyahstudios.com
linkedin profile <https://www.linkedin.com/in/seva-david-louis-ball-434700/>
portfolio <http://www.davidlouisball.com/>



-- 
best
seva

s...@soundcurrent.com
www.soundcurrent.com
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Re: [Sursound] Audeze tetrahedral microphone

[seva, soundcurrent mastering]

ah, after i posted the question about audeze i found this thread where Dave
the madman Malham thoroughly answered it!  just three years earlier than i
wanted to know...

seva




On Thu, Sep 10, 2015 at 5:34 AM Dave Malham  wrote:

> Well, , ah, this (and their website) all smacks a bit of Snake Oil
> to me, though I could be completely wrong. As far as I can find, there are
> no technical specifications anywhere (did I miss something?) which is
> always a bit suspect when big claims are made. For all their eulogising
> about Gerzon, did they actually read his paper on the soundfield mic from
> the 1975 AES conference in London? The problems of large capsules/wide
> spacings are clearly spelt out. There is no way such a large array can NOT
> suffer from horrendous spatial aliasing down to quite low frequencies. Now,
> for on-axis sounds there is no reason such microphones shouldn't be good,
> even excellent, as was pointed out by Peter Baxandall in 1980 (Loudspeakers
> as High-Quality Microphones) <
> http://www.aes.org/e-lib/browse.cfm?elib=3776>
> at the London AES convention. Off axis, on the other hand, the response
> can't be anything but awful with, for a 100mm capsule, nulls starting at
> mid frequencies.
>
> Tell you what, though, would make some wonderfully freaky images for
> electro-acoustic pieces ;-)
>
>  Dave
> <http://www.aes.org/e-lib/browse.cfm?elib=3776>
>
> On 9 September 2015 at 19:40, Joseph Anderson <
> j.ander...@ambisonictoolkit.net> wrote:
>
> > Hello All,
> >
> > Of interest to this thread, a video posted by Water Lily Acoustics:
> > https://www.facebook.com/WaterLilyAcoustics/videos/869044249844736/
> >
> > From the page:
> >
> > In this video one sees an Ambisonic (B format) array of four transducers:
> > > an omni directional microphone, in conjunction with three, push/pull,
> > > figure-of-eight, planar magnetic microphones, arranged in a
> coincidental
> > > manner.
> > > The figure-of-eight, true push-pull, planar magnetic microphones -
> > > employing 3 micron thick film (including the vacuum deposited audio
> > traces)
> > > and Neodymium magnets - are prototypes. Designed by Dragoslav Colich,
> the
> > > chief designer at Audeze and the man behind their extraordinary
> > headphones!
> > > A master of planar and electrostatic transducer technology, Mr. Colich
> > has
> > > been busy at work and here you see the fruits of his labor Tests made
> > with
> > > the array shown in the video below, has lead to the creation of a
> > > "soundfield" type microphone, with four sub-cardioid, planar magnetic
> > > drivers in a tetrahedral arrangement. All these outstanding
> microphones,
> > > mono (including first planar cardioid!), stereo and Tetrahedral, shall
> be
> > > soon seeing the light of day!
> >
> >
> > My best,
> >
> >
> > *Joseph Anderson*
> >
> >
> >
> > *http://www.ambisonictoolkit.net/ <http://www.ambisonictoolkit.net/>*
> >
> >
> > On Wed, Sep 9, 2015 at 10:04 AM, len moskowitz <
> lenmoskow...@optonline.net
> > >
> > wrote:
> >
> > > Ronald C.F. Antony wrote:
> > >
> > >
> > > Looks great, although, the capsules look rather large on these images?
> > >>
> > >
> > >
> > > 100mm diameter (per their web page copy)
> > >
> > > ?so I wonder how that?s going to influence the sound or what sort of
> > >> calibration they offer. Anyone got any experience with one of these?
> > >>
> > >
> > >
> > > IMO, they have some very serious technical challenges to surmount.
> > >
> > >
> > >
> > >
> > > Len Moskowitz (mosko...@core-sound.com)
> > > Core Sound LLC
> > > www.core-sound.com
> > > Home of TetraMic
> > >
> > >
> > >
> > >
> > > ___
> > > Sursound mailing list
> > > Sursound@music.vt.edu
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> here,
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Re: [Sursound] Audeze tetrahedral microphone

[seva, soundcurrent mastering]

i have two  D202 from David Lewiston (The Lewiston Archive) and they are
rather fascinating. David didn't use them much but they are in spectacular
condition.



On Thu, Sep 10, 2015 at 10:12 AM jon burton  wrote:

> Akg D202 was a dual capsule microphone with high frequency capsule and a
> low frequency capsule behind I believe http://www.coutant.org/akgd202/
> The 224 was of a similar design. Both great microphones particular for
> overdub vocals and radio. The 224 was my favourite mic for guitars and
> cellos.
> Not sure if I know of any other mics that operate this way..
>
> Jon
> On 10 Sep 2015, at 11:58, Paul Hodges  wrote:
>
> > --On 10 September 2015 10:34 +0100 Dave Malham 
> > wrote:
> >
> >> There is no way such a large array can NOT
> >> suffer from horrendous spatial aliasing down to quite low frequencies.
> >> ...
> >> (Loudspeakers as High-Quality Microphones)
> >
> > Maybe someone needs to design a mic with a diaphragm size that varies
> > with frequency, as in the Quad ESL63 loudspeaker...
> >
> > Paul
> >
> > --
> > Paul Hodges
> >
> > ___
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>

-- 
best
seva

s...@soundcurrent.com
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Re: [Sursound] Audeze tetrahedral microphone

[seva, soundcurrent mastering]

ah. Tardis alignment. i think it's to the left of the door as you come in.

On Tue, Dec 11, 2018 at 7:47 AM Dave Malham  wrote:

> Oh dear, knew there was something wrong with the settings in the Tardis
> tomorrow. Should will have remembered it. :-)
>
> Dave
>
> On Tue, 11 Dec 2018 at 05:28, seva, soundcurrent mastering <
> s...@soundcurrent.com> wrote:
>
> > ah, after i posted the question about audeze i found this thread where
> Dave
> > the madman Malham thoroughly answered it!  just three years earlier than
> i
> > wanted to know...
> >
> > seva
> >
> >
> >
> >
> > On Thu, Sep 10, 2015 at 5:34 AM Dave Malham 
> > wrote:
> >
> > > Well, , ah, this (and their website) all smacks a bit of Snake
> > Oil
> > > to me, though I could be completely wrong. As far as I can find, there
> > are
> > > no technical specifications anywhere (did I miss something?) which is
> > > always a bit suspect when big claims are made. For all their eulogising
> > > about Gerzon, did they actually read his paper on the soundfield mic
> from
> > > the 1975 AES conference in London? The problems of large capsules/wide
> > > spacings are clearly spelt out. There is no way such a large array can
> > NOT
> > > suffer from horrendous spatial aliasing down to quite low frequencies.
> > Now,
> > > for on-axis sounds there is no reason such microphones shouldn't be
> good,
> > > even excellent, as was pointed out by Peter Baxandall in 1980
> > (Loudspeakers
> > > as High-Quality Microphones) <
> > > http://www.aes.org/e-lib/browse.cfm?elib=3776>
> > > at the London AES convention. Off axis, on the other hand, the response
> > > can't be anything but awful with, for a 100mm capsule, nulls starting
> at
> > > mid frequencies.
> > >
> > > Tell you what, though, would make some wonderfully freaky images for
> > > electro-acoustic pieces ;-)
> > >
> > >  Dave
> > > <http://www.aes.org/e-lib/browse.cfm?elib=3776>
> > >
> > > On 9 September 2015 at 19:40, Joseph Anderson <
> > > j.ander...@ambisonictoolkit.net> wrote:
> > >
> > > > Hello All,
> > > >
> > > > Of interest to this thread, a video posted by Water Lily Acoustics:
> > > > https://www.facebook.com/WaterLilyAcoustics/videos/869044249844736/
> > > >
> > > > From the page:
> > > >
> > > > In this video one sees an Ambisonic (B format) array of four
> > transducers:
> > > > > an omni directional microphone, in conjunction with three,
> push/pull,
> > > > > figure-of-eight, planar magnetic microphones, arranged in a
> > > coincidental
> > > > > manner.
> > > > > The figure-of-eight, true push-pull, planar magnetic microphones -
> > > > > employing 3 micron thick film (including the vacuum deposited audio
> > > > traces)
> > > > > and Neodymium magnets - are prototypes. Designed by Dragoslav
> Colich,
> > > the
> > > > > chief designer at Audeze and the man behind their extraordinary
> > > > headphones!
> > > > > A master of planar and electrostatic transducer technology, Mr.
> > Colich
> > > > has
> > > > > been busy at work and here you see the fruits of his labor Tests
> made
> > > > with
> > > > > the array shown in the video below, has lead to the creation of a
> > > > > "soundfield" type microphone, with four sub-cardioid, planar
> magnetic
> > > > > drivers in a tetrahedral arrangement. All these outstanding
> > > microphones,
> > > > > mono (including first planar cardioid!), stereo and Tetrahedral,
> > shall
> > > be
> > > > > soon seeing the light of day!
> > > >
> > > >
> > > > My best,
> > > >
> > > >
> > > > *Joseph Anderson*
> > > >
> > > >
> > > >
> > > > *http://www.ambisonictoolkit.net/ <http://www.ambisonictoolkit.net/
> >*
> > > >
> > > >
> > > > On Wed, Sep 9, 2015 at 10:04 AM, len moskowitz <
> > > lenmoskow...@optonline.net
> > > > >
> > > > wrote:
> > > >
> > > > > Ronald C.F. Antony wrote:
> > > > >
> > > > >
> > > > > Looks great, although, the capsules look

Re: [Sursound] Ambisonic "Film"

[seva, soundcurrent mastering]

never, but fascinating. it could scale to typical movie theater.   not sure
why i've not heard of it.

to digress a little
in regards to their screenplay for Spatial Audio Theatre, it's great they
are writing/composing for it by utilizing Ambisonics.

but, i wonder if composers and writers would also look at Atmos as a
spatial medium if it becomes widespread standard in theatres, or even a
limited number per market. then, there would be many places across the
country with calibrated 3D playback rooms.




On Sat, May 11, 2013 at 1:13 PM, John Leonard wrote:

> Anyone seen/heard this?
>
>
> http://www.earfilms.com/
>
> John
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Re: [Sursound] 4 D sound (!)

[seva, soundcurrent mastering]

yes i believe Ambisonics (and real life) would be 4D.  that is a
traditional University definition of time-based media (film, video, sound).

plus, i'd like to say that i do experience IMD in the 4th dimension.




On Wed, Mar 5, 2014 at 7:49 AM, Michael Chapman  wrote:

> > There is no sound without time, so time being a dimension should strictly
> > speaking always result in a +1 on the dimension count from traditional
> > accounting...
> >
> > Ronald
>
> Following Eero's notation, surely we should add + 0.5 D
> .  .  .   unless we can move back in time
>
>
> Mind you some days I feel my 'progress' in time is not uniform but has
> some waveform 'mixed' with it ...
>
>
> Michael
>
> >
> > On 5 Mar 2014, at 12:53, Eero Aro  wrote:
> >
> >> Nah
> >>
> >> With my Serious Bloke hat on:
> >>
> >> Mono is 0,5 D sound. Distance and depth in front of the listener.
> >>
> >> Stereo is 1,5 D sound. Left-Right / distance and depth in front of the
> >> listener.
> >>
> >> Pantophonics is 2D. Front-Back, Left-Right.
> >>
> >> Periphonics is 3D. Front-Back, Left-Right, Up-Down. (Binaural also, if
> >> it would work.)
> >>
> >> Eero
> >>
> >> 5.3.2014 13:42, Dave Malham kirjoitti:
> >>> Ah, but if that's the case, mono is 2-D sound, stereo is 3-D
> >>> sound
> >>> :-)
> >>>
> >>>
> >>> On 5 March 2014 11:08, Ronald C.F. Antony  wrote:
> >>>
> 
>  On 5 Mar 2014, at 11:58, Dave Malham  wrote:
> 
> > And now, 4-D sound
> >
> >
> 
> http://createdigitalmusic.com/2014/03/full-immersion-audio-artists-explore-4dsound-spatial-grid-omni-speakers-ableton-max-lemur/
> >
> > X, Y, Z  and...
> 
>  Time, it's 3-D sound in Space-Time ;)
> 
>  Ronald
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