Um. Every single recording on Ambisonia was available as a
DTS-CD RIFF/WAV file of a 4.0 decode (that is, Center and LFE were
silent). All one needed to do was burn them to a CD and play in a DVD
player connected to a 5.1 home theater set up. See Richard Elen's
article Getting
Robert Greene wrote:
2 Forces people to use one point miking
Actually I don't understand why you list one point miking in the
Goods. :-)
However, from quite early on, it was possible to use mono and stereo
microphones and to encode them into UHJ with the Audio Design
Transcoder and into
Robert,
Lots to comment on here. I seem to be compelled to address your negative or
not so good observations:
Not so Good 2) Because one- point miking ignores transient time
of arrival differences as such , one of the basic cues of sonic perception
is suppressed explicitly
That's not
Message: 1
Date: Sun, 1 Apr 2012 10:05:18 -0400 (EDT)
From: newme...@aol.com
Subject: Re: [Sursound] Can anyone help with my dissertation please?
To: sursound@music.vt.edu
Message-ID: 1343c.5791214f.3ca9b...@aol.com
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Robert:
But I think that
, and we had to service
these in order to finance what we really wanted to do.
Geoffrey
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Umm - page 3 in the white paper;
Algorithms include not only object-based audio processing but also higher-order Ambisonics and
perceptual-based spatial sound processing.
so it's both mpeg4 and HOA
Dave
On 02/04/2012 11:13, Rev Tony Newnham wrote:
Hi
Came across this in the
Thanks Dave - like I said, I've not had time to read it properly yet.
Every Blessing
Tony
-Original Message-
From: sursound-boun...@music.vt.edu [mailto:sursound-boun...@music.vt.edu]
On
Behalf Of Dave Malham
Sent: 02 April 2012 11:53
To: Surround Sound discussion group
Subject:
All you need to do is.., is the end of the line here.
Commercially, you might as well try to sell a car
where all you need to do to start it is to type
in a ten digit code, sing Mary had a little lamb three times,
and notify the post office.
No one is going to go through this sort of thing in
I did say very explicitly transient time differences.
Maybe I am missing something but these are not detected
in Blumlein and I am not clear on why they would
be in first order. I don't think this works.
I could be wrong, however. But I think that
in Blumlein stereo anyway, everyone agrees it
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Robert Greene wrote:
Because it is good!
Yes, it is good for many occasions.
Because Nimbus Records devoted themselves strictly to one point
miking, they didn't record any operas, as the singers, choir and the
orchestra are scattered in a large area and you cannot get a good
balance with one
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Re marketing
I am not a marketing expert but it seems to me that if anyone
had really wanted Ambisonics to succeed, there would
have been
1 presentations at shows for example. I have
over the years encountered exactly one, by Meridian. Period.
And
2 there would have been low priced or free demo
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On 02/04/2012 16:34, Robert Greene wrote:
It may be old but it is still all but universal
in acoustic concert music.
Maybe; but acoustic concert music is not the universe. But I can well
see that the prevailing assumption on this list is that Ambisonics is
only relevant to the reproduction
Part of the point must surely be to reach the public
eventually? Or is that somehow sort of declasse?
Robert
On Mon, 2 Apr 2012, Richard Dobson wrote:
On 02/04/2012 16:34, Robert Greene wrote:
It may be old but it is still all but universal
in acoustic concert music.
Maybe; but acoustic
Incidentally, I may come across as interested
only in classical music(true) but popular
music is the same way. Anyone watch the Country Music
awards show(you cannot get more grass roots popular than that).
See a lot of country music singers doing antiphonal calling
from all over the auditorium?
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Hi
My now rather old and basic Surround Sound RX actually does have a setting
called 3-stereo, which presumably synthesises a centre channel from the
stereo feed. I've never tried it - but I might give it a go next time I'm
listening to music in the lounge. I normally either use Pro-Logic (for
Sorry I got bogged down in technical details. Thanks for pointing
that out to me.
What I should have said was that every recording on Ambisonia (~250,
iirc) was available as a file that could be downloaded, burnt to CD,
and played on a plain old 5.1 home theater system -- presumably just
the
On 2 Apr 2012, at 20:53, newme...@aol.com wrote:
But, in the context of this list and this thread, these larger forces
must also be taken into account -- which, ultimately, lead to the perfectly
understandable reasons why Ambisonics could never and should never become a
mass-market
Thanks for the information.
But here is my question in more precise form:
Suppose you do a recording with ORTF(which
of course has its own set of problems).
Suppose you record a source that is say 15 degrees
left of center. and that the source is a pistol shot(an impulse).
Now the impulse will
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I can't answer the question precisely without either doing an experiment or by
doing many hours of calculations. But one thing to consider is that the
Blumlein recording won't fail to produce correct ITDs at frequencies above 700
Hz. At least, not theoretically. I can demonstrate by
Well, don't get the idea that I do not like Blumlein.
My once(actually twice as it happened) in a lifetime
chance to record major orchestras with Kavi Alexander
in charge, we did use Blumlein.
And ORTF sounds a little colored as to timbre to me
(we have some recordings made with identical mike
At 10:34 02/04/2012, Robert Greene wrote:
It may be old but it is still all but universal
in acoustic concert music.
I think it is disingenuous to say that it is not.
How many symphony concerts have you been to
recently where the orchestra surrounded the audience.
The other way around, sure.
But
At 11:33 02/04/2012, Ronald C.F. Antony wrote:
On 2 Apr 2012, at 17:57, Eero Aro eero@dlc.fi wrote:
Because Nimbus Records devoted themselves strictly to one point
miking, they didn't record any operas, as the singers, choir and the
orchestra are scattered in a large area and you cannot
Two weeks ago, I saw a performance of Répons by Boulez. It was a
canadian première, 30 years after its creation. The audience surrounded
the orchestra, and six percussion instruments surrounded the audience,
along with 6 speakers. It was happening in a very large room (an old
boat factory), so
--- On Mon, 4/2/12, Eric Benjamin eb...@pacbell.net wrote:
In subsequent thinking about his question it occurs to me
that the plausibility,
not of the signals in the recording but of acoustic signals
that enter the
listener's ears, is an important indicator of whether the
listener finds
--- On Mon, 4/2/12, Eric Benjamin eb...@pacbell.net wrote:
Don't take this to mean that I don't like ORTF recordings.
I do like them. The
best stereo recording that I have ever made was an ORTF
recording. But then, I'm
not a very good recording engineer. I think that one of
the
Wow what an amazing response! Thank you to you all, have been up for hours
reading your links and exploring your comments.
Absolutely agree Geoffrey that my working title needs clarity and focus.
Thank you to all for your help.
More information welcome...fascinating stuff!
Much appreciated,
Cara
On 04/02/2012 06:33 PM, Ronald C.F. Antony wrote:
On 2 Apr 2012, at 17:57, Eero Aroeero@dlc.fi wrote:
Because Nimbus Records devoted themselves strictly to one point
miking, they didn't record any operas, as the singers, choir and the
orchestra are scattered in a large area and you
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