by my employer
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/* Music Research Centre */
/* Department of Music"http://music.york.ac.uk/"; */
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ay or may not be shared by my employer
/*****/
/* Dave Malham http://music.york.ac.uk/staff/research/dave-malham/ */
/* Music Research Centre */
/* Department of Music"http://music.york.ac.uk/";
>> a look one evening.
>> I am definitely up for sharing ideas and patches. Please feel free to
>> write on my sursound email for any personal communication.
>>
>> Very grateful for all the help from the list.
>>
>> Thankyou
>>
&g
trying to setup a scientifically accurate ambisonic setup. But
then I would probably never make any music!
Dave, are there a links to these papers by Eric, Richard and Aaron
that you speak of?
-ap
On Fri, Jun 8, 2012 at 9:07 AM, Dave Malham wrote:
On 08/06/2012 09:49, Jörn Nettingsmeier
e than one listener, unless all you want is envelopment.
Agreed.
Dave
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but will have
a look one evening.
I am definitely up for sharing ideas and patches. Please feel free to write
on my sursound email for any personal communication.
Very grateful for all the help from the list.
Thankyou
Sero
Message: 3
Date: Sun, 3 Jun 2012 21:33:58 +0100
From: Dave Malham
views and may or may not be shared by my employer
/*****/
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/* Music Research Centre */
/* Department of Music"htt
environment, with standardised
HOA speaker array to handle the early reflections and reverberation,
which we can probably assume are more tolerant of deviations from
physical reality, with the direct sounds actually coming from
individual speakers - so exactly physically correct?
Dave
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gt; On Thu, May 31, 2012 at 03:26:18PM +0100, Dave Malham wrote:
>
>> Have you compared the results of having separate X,Y,U,V,P,Q
>> filters to generate the "panning" (which is how I interpret what you say
>> above) with pre-filtering the sounds then panning the
5/2012 19:46, Martin Leese wrote:
Dave Malham wrote:
Subject: Re: [Sursound] Chasing flies with ambisoinics?
...
That's interesting - it kind of chimes with some experiments I have been
doing recently with digital
recreations of Gerzon's spreaders, which used phase shift based proce
All the best
Dave
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/*
itself constitutes a
> partially mediated environment
>
Ah - but so's a racing car...
Dave
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Dave Malham
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Department of Music
The University of York
Heslington
York YO
of real environments. So it's the journey,
> not the destination..?
> Peter Lennox
>
That is demonstrably the fun bit, even if it's unprovable.
Dave
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Just come across this, which is interesting in context
http://www8.informatik.umu.se/~jwworth/4_01RIVA.pdf
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/* Dave Malham http://music.york.ac.uk
did have far better
CGI :-)
Dave
On 31/05/2012 10:38, Richard Dobson wrote:
On 31/05/2012 10:03, Dave Malham wrote:
..
Here, to any extent, I depart from Gibson. With sufficiently advanced
technology there comes a point at which the effort required to suspend
disbelief is so small as to
on.
Dave
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urces right, everything else falls into place - note
I said position, note just direction, though that is necessarily essential.
Dave
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S - I gather you guys in Parma might be getting pretty shaken up by the earthquakes in Northern
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/video/12k-line/evelina-domnitch-dmitry-gelfand-quot-xenon-wind-quot-camera-lucida-dvd/7806818
On 30/05/2012, Dave Malham wrote:
One thing to bear in mind is that the perception of proximity is far easier
to achieve with (fairly
rapidly) moving sources. If you get the changing patterns of
fully I've got this out before anyone shouts at me!
Dave
On 30 May 2012 14:48, Dave Malham wrote:
> One thing to bear in mind is that the perception of proximity is far easier
> to achieve with (fairly rapidly) moving sources. If you get the changing
> patterns of simulated
und@music.vt.edu
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These are my own views and may or may not be shared by my employer
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/* Dave M
7;ve not even ordered one!
On 24/04/2012 18:33, Marc Lavallée wrote:
The snd_bcm2835 driver is for the integrated stereo sound module.
For more channels, a cheap 8 channels USB sound module would probably
work, and ALSA drivers for many sound modules are stable.
Martin Leese a écrit :
Dave Malha
.edu/mailman/listinfo/sursound
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d may or may not be shared by my employer
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/* Department of Music"http://music.york.ac.uk/";
ned in the
mixing stage. The beds are channel based, i.e. (I guess) pretty well standard panned to speakers
5.1/7.1/9.1 arrays. There's no info about how panning is done in cinema renderer but maybe VBAP?
Anyone have any more detailed technical info?
Dave
On 24/04/2012 09:39, Da
by my employer
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/* The University of
y employer
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/* Music Research Centre */
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sorry about this...
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please ignore this too .. just trying to figure out ways round one of GMail's
annoying habits...
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please ignore
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/* Music Research Centre
t;> The University of Derby has a published policy regarding email and reserves
>> the right to monitor email traffic. If you believe this email was sent to
>> you in error, please notify the sender and delete this email. Please direct
>>
y hat.
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/* Music Research Centre */
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/* The University of York Phone 01904 322448
oportion of the blame. :-(
Dave
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/* Music
rst aspect was the "distortion" (most noticeable just after
>>> Letter N from 12:10), which I take to be the 16-bit granularity. I will
>>> listen to more of these.
>>>
>>> Thanks!
>>>
>>> David
>>
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n ambisonia.com.
> (For installation, running is easy ...)
As we said at the conference, we're working on it - it'll be back up
before t long :-)
Dave
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Dave Malham <http://music.york.ac.uk/staff/resear
ed to create a virtual
>> reality.
>>
>> Ronald
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> ___
the audience is common.
> Not in the statistical sense of percentage of
> concerts where it happens.
> Robert
>
> On Mon, 2 Apr 2012, Dave Malham wrote:
>
>> Right on - as I've said before, frontal music is largely a development of
>> 16th century Western civilisat
y not be shared by my employer
/*****/
/* Dave Malham http://music.york.ac.uk/staff/research/dave-malham/ */
/* Music Research Centre */
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gs (a la CD)
Dave
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ts of the hall. Not all within the restricted form
of "concert music", but music in the real world where we turn our heads and enjoy our whole
environment.
Paul
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channels. :-)
best,
Miguel Negrão
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surely you
would need to know the original positions of the sources to do anything meaningful?
Dave
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to conference organising - hope I'll be seeing many of you in just
under three weeks (gulp)
Dave
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Ah - I withdraw that about the Wigware decoders as the versions on Bruce's website are probably not
sufficiently flexible for your purposes, though the actual heuristic methodology probably is.
Dave
On 29/02/2012 14:47, Dave Malham wrote:
There's a third method - Bruce Wiggins&
internals in order to be able to proceed.
Ciao,
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/20120229/5f3e4d8f/attachment.bin>
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r may not be shared by my employer
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/* Department of Music
BTW - if you can think of any other list this could usefully send this out on,
please feel free to do so
On 27/02/2012 15:12, Dave Malham wrote:
With apologies for cross posting
Lecturer in Music
*University of York*- Department of Music
*UNIVERSITY OF YORK*
Applications are
With apologies for cross posting
Lecturer in Music
*University of York*- Department of Music
*UNIVERSITY OF YORK*
Applications are invited for a Lectureship in Music available from October 2012. We seek a Lecturer
specializing in electronic music, with an interest in one or more of th
s-3d-world/
Dave
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und mailing list
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of
this material is one of my "swansong" tasks for the next 6 months.
Dave
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mailing list
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Music Research Centre
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The Unive
nfo/sursound
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hared by my employer
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/* The Universi
I think I've answered my own question - here's Harry F. Olson's patent for
the ribbon mic
http://www.google.com/patents/US1885001
from March 31st 1931. Boy, were those guys on a roll in 1931! (But, of
course, if anyone knows of anything earlier)
Dave
On Dec 21 2011, dave.mal...@yo
And this http://www.google.com/patents/US1892646 from May 29 (again!) 1931
would be (minus the thermocouples, etc) a full 3D native B format mic!
Dave
On Dec 21 2011, dave.mal...@york.ac.uk wrote:
Folks,
There is truly nothing new under the sun. (translation by Goggles). I
just came acr
Folks,
There is truly nothing new under the sun. (translation by Goggles). I
just came across the following patent
http://www.google.com/patents/US2173219 for what is essentially a native B
Format microphone using ribbon microphones. The filing date? May 29th,
1937! (Actually, I was trying to
27;d missed the boat - now
is the time to re-start typing!
Dave
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usic.vt.edu/mailman/listinfo/sursound
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d
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/* Departme
I certainly _intend_ to (mine are all 64 bit internally, anyway) but I've
so much on at the moment it's going to be a while before I can even think
about it.
Dave
On Dec 8 2011, Paul Hodges wrote:
Do any of those who have produced useful VSTs for Ambisonics have plans
to compile 64-bit ve
y not be shared by my employer
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/* Th
/11/2011 08:58, Dave Malham wrote:
25th AES UK Conference: Spatial Audio in Today’s 3D World
in association with the
4th International Symposium on Ambisonics and Spherical Acoustics
University of York, UK
Sunday 25th March – Tuesday 27th March 2012
CALL FOR PAPERS
The 25th AES UK Conference
Theoretical considerations on comparative subjective and objective studies
Standardisation, exchange, implementation and hardware issues
Regards
Dave Malham
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/* The University of York Phone 01
S?? - can't remember) as a "Free Acoustic Tester" but it eventually collapsed on me
and I keep meaning to get a new one but, as yet, I haven't replaced it.
Dave
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/****
sed
volume between the hands, it doesn't make much noise. A clapper doesn't
have a closed volume.
Ciao,
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Second cup of coffee has now penetrated and I realise I forgot about the
stereo - still, essentially the same, except we say that it's non-inverting
if a due front pressure increase produces a positive signal in both
channels.
Dave
On Oct 9 2011, dave.mal...@york.ac.uk wrote:
Hi folks,
Hi folks,
A wet Sunday morning and I haven't been up that long (only on first cup
of coffee) so I hope this will make sense!
Surely all that is actually needed, at least as far as B format is
concerned, is whether the W signal goes positive for a pressure increase?
Everything else is given
own views and may or may not be shared by my employer
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ist
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/*********/
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hese are my own views and may or may not be shared by my employer
/*********/
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/* Music Research Centre */
/* Department of Music"ht
or may not be shared by my employer
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/* Dave Malham http://music.york.ac.uk/staff/research/dave-malham/ */
/* Music Research Centre */
/* Department of Music&quo
Couldn't agree more...
On 20/09/2011 10:58, Fons Adriaensen wrote:
On Tue, Sep 20, 2011 at 10:33:08AM +0100, Dave Malham wrote:
As Eric says, though, this isn't much different from what
happens with phono cartridge amplifiers. In fact, one _might_ even say
that all that is happeni
hared by my employer
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On 19/09/2011 15:21, Stefan Schreiber wrote:
Dave Malham wrote:
Well, like I said, I do apologise - it was an unfortunate attempt at a humorous dig at the system
and the fact that patent examiners, who are generally overworked and underpaid, often end up
being forced to take on patents
B, which I wish Svein would make available on its own, without
the Harpex processing part.
Dave
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run
for cover.
Dave
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/* Music
or may not be shared by my employer
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/* Music Research Centre */
/* Department of Music"http://music.york.
Quite - I would have said this is absolutely standard operational procedure
- my best guess is that the patent examiner was actually an expert in
hieroglyphics or ancient Summarian writings and so he'd never been near a
recording studio or a composer of computer music - or Ville Pulki or...
It seems you can get a patent for anything, even if totally obvious and
common practise.. - check out EP1558061A2
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r possibility - it might BMX
or RM :-) I would
think that the only people around who are really likely to know for certain
are Geoffrey Barton,
Peter Carbines or Peter Craven - pretty well everyone else has gone...
Dave Malham (just back from holiday - so couldn't respon
lman/listinfo/sursound
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/* Music Research Centre */
/* Department of
s " so if it was
published (as well as recorded)
around 1974, I'm afraid that there is yet another possibility - it might BMX
or RM :-) I would
think that the only people around who are really likely to know for certain
are Geoffrey Barton,
Peter Carbines or Peter Cr
r possibility - it might BMX or RM :-) I would
think that the only people around who are really likely to know for certain are Geoffrey Barton,
Peter Carbines or Peter Craven - pretty well everyone else has gone...
Dave Malham (just back from holiday - so couldn't respond earlier
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