to eight mono or stereo
files with synchronised controls:
http://acousmodules.free.fr/acousmodules6_en.htm
But if you're going to use AudioMulch, why bother? I just use the built-in
multichannel file players in both AudioMulch and Plogue Bidule, and they
work just fine.
Paul
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Found it; Hi-Fi News, April 1974. Looky here:
50k:
http://cassland.org/images/Amb/CalrecAmbi-small.jpg
200k:
http://cassland.org/images/Amb/CalrecAmbi-large.jpg
24M:
http://cassland.org/images/Amb/CalrecAmbi-huge.jpg
Paul
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--On 17 January 2011 14:08 +0100 Jörn Nettingsmeier
netti...@stackingdwarves.net wrote:
if you want to use cardioids, your best bet will be three at 120° angles.
As briefly used by Michael Gerzon:
http://www.michaelgerzonphotos.org.uk/microphones-calrecs.html
Paul
--
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, then you just get whitish
noise.
Very useful, though; as a file it plays in VideoLAN etc, and on CD I have
had success giving it to others (with suitable instructions to play it in
their DVD player!).
Paul
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list login, and then showed me the image.
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,
and then to assess whether the common man finds a switch to full 3D
first-order or to horizontal third-order the greater improvement in effect.
(So far, I have heard only anecdotal answers to this question.)
Paul
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--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
--
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accessible by
now, but some major changes at work have seriously interfered with my time
and distraction levels over the last couple of months. The files concerned
are all hosted on Amazon S3 for fast downloads.
Paul
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(Sorry for the noise, folks.)
Umashankar - did you get my reply to your private message? Sometimes
Hotmail blocks mail from my personal mail server.
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on the rise fall of quad, surround and
the early history of Ambisonics, the Soundfield Mic ...
I would like to assure people that this book is beautifully printed and
made, and the photographs (which are the basis of the book) come up even
better than on the website.
Paul
--
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to be found - but the reproduction will be less good to the
extent that the sources expected when the 5.1 mix was done are being less
precisely reproduced.
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missing, I would love to know, of course!)
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Do any of those who have produced useful VSTs for Ambisonics have plans to
compile 64-bit versions of them? I have now reached the point that half of
my most-used audio programs are available in 64-bit versions, so it's
starting to become relevant.
Paul
--
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offers you.
I wasn't speaking of audio precision at all; I was talking of 64-bit
instruction set and operating system compatibility, which is an entirely
unrelated matter.
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and labelling the results HJ.
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on?
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in a
different position from lower frequencies, for instance). On that basis,
using the phase modified linear decoder would seem to be the best choice.
Paul
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--On 27 January 2012 19:01 + Paul Hodges pwh-surro...@cassland.org
wrote:
I think it would be pretty safe to assume that all BBC tapes encoded with
H are encoded the same,
I meant to type H or HJ, of course.
Paul
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--On 27 January 2012 19:01 + Paul Hodges pwh-surro...@cassland.org
wrote:
It could well be that the BBC made no change at all to their Matrix-H
encoding as a result of the publication of HJ. H fell within HJ (by
intent) and so continued to be acceptable.
I have (so far) found just one
] = source azimuth measured anti-clockwise from the
centre-front position.
Paul
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for sale abroad. Three separate balancing
facilities in different places for the same concert.
Enterprises took raw microphone feeds from Radio, but my recollection
is that TV slung their own mics.
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of the file, whereas
the original message shows what VVMic displays in the grid display (which
has to be selected as an alternative to the graph display of the
parameters). My calibration information looks generally similar to those
posted.
Paul
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for the software version comes up as NaN, which doesn't really
inspire confidence, either.
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that a tautology.
I frequently listen to, and record, music in churches (commonly with an
organ behind or to one side), and concerts with music surrounding the
audience in the round (in places as varied as Walthamstow Town Hall, The
Union Chapel Islington, and the Royal Festival Hall).
Paul
--
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among their audience, a
hall full of schoolchildren bouncing their sounds off each other from
different parts 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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). I use CHXFORMAT from Richard Dobson's
mctools to convert the file when necessary:
http://people.bath.ac.uk/masrwd/mctools.html
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for binaural conversion? Or is the
binaural effect in any case too variable for this to be determined?
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of specific investigations of the process.
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. The performance took place in darkness,
and lasted about 20 minutes (in final rehearsal, it had been 30 minutes,
and with more form).
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green.
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a matter of hooking up unnecessary numbers of boxes
(monitors, keyboards, interfaces etc) with the electronic equivalent of
string. And that's from someone whose business has been computers for over
50 years.
Paul
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--On 08 July 2012 18:41 +0100 Paul Hodges pwh-surro...@cassland.org wrote:
And that's from someone whose business has been
computers for over 50 years.
Oops - I didn't mean to mislead; typo for over 40 years. My business for a
mere 42 years, and I've been using them for 45.
Paul
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this was an extreme situation (distant thunder).
Paul
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directional mics work.
The way their outputs are combined to generate W, X, Y, and Z serves to
isolate the pressure signal (W) and the velocity vectors (X, Y, Z) by
cancelling out the unwanted parts in each case.
Paul
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signally failed to catch on, so I suppose that not so many agree with me.
Perhaps it's an age thing (oh, wait, I'm as old as any of you...).
Paul
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). This matters
more than the particular manner of communication.
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melee as the title, but
says that mêlée is frequently used in English; the Oxford Dictionary of
English gives only melee.
So, any spelling is acceptable in English, it seems, which is in keeping
with the nature of the language.
Paul
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such speakers would be of considerable
interest. Second to them would be any speakers whose polar pattern was
pretty much uniform with frequency.
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. In
time, all compression will go away, but we're not quite there yet.
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.
Many people see the start of O-O going back to Simula-67 anyway.
Paul
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that there were no verbal clues given for that (just for
left and right). I suspect that the acoustic of the room being very
similar to that of where I'm sitting helped, especially with the
illusion of distance.
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I have heard that Stephen Thornton, of OUTRS, and author of
http://www.michaelgerzonphotos.org.uk/, passed away a couple of days ago.
He had been suffering from cancer for many years, but remained resolutely
cheerful every time I met him or communicated with him.
Paul
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it, but (without going falsetto) it still does not come
especially recommended!
I would be surprised not to have many top Ds to sing in a normal
concert, and probably the odd D#/Eb. E appears sometimes, and the
basses had a top F in the last concert I sang, though that is unusual.
Paul
--
Paul
with their As (they had Bbs
in the last concert, and the sops had C = Bruckner, Te Deum). At the
bottom I expect Gs routinely, and it's an unusual concert that doesn't go
lower: F is common, D rare, but we've sung three pieces recently with
bottom Cs in. :P
Paul
--
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)
recordings played through many speakers in a suitable acoustic. Of
course, in this case the aim is not to reproduce the same sounds in the
same space, but to have a recorded instrument for use in a different
space.
Paul
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! Sure, some
demos took place there (four out of over twenty), but that photo sure ain't
of one of them (even though it is so labelled in Wharfedale's own
brochures)!
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improvement could be made that hasn't been
thought of already.
I prefer to view the improvement of full pantophony over simple stereophony
as worthwhile, both in itself, and as a pointer to the further improvements
to be found by going fully 3-D and then to HOA.
Paul
--
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, so much so that several people in an
unsophisticated (in audio terms) audience to whom I played (in a mid-sized
hall) one of my coincident recordings the other day found it necessary to
tell me that it was the most realistic recording they'd ever heard.
Paul
--
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myself; but when factoring in
the need to learn about DSP programming and modern programming
languages, other commitments, and the slowing down of age...
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, because it doesn't recognise the GUID. Audition
CS6 will open a .amb file (though the extension is not in the dropdown
list, you have to use *.*), and will tell you that it is an ambisonic
file but will not be treated as such - it writes back with a standard
GUID.
Paul
--
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to mark the capsules if you're going to swap them,
so that you can put them back in the same positions, otherwise the
calibration will be out).
Paul
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--On 03 November 2013 09:06 + Michael Chapman s...@mchapman.com wrote:
The PP units invert the signal.
My understanding is that the early ones did, but the later ones are
different and do not.
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+, 0.5X-, 0.5 Y-
4 0.5 W-, X+, 0.5 Y-
5 0.5 W-, 0.5 X-, Y+
Then:
W is (3, 4+5)
X is (4, 3+5)
Y is (5, 3+4)
Unwanted signals then cancel out, being common-mode.
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on the plugs and sockets makes this so
much easier!
That's why I was asking here about colour codes a few years ago (the
answer is make up your own!).
Paul
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--On 05 December 2013 19:37 -0700 Martin Leese
martin.le...@stanfordalumni.org wrote:
the five rings logo
Six (five small, one large).
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October 2010 18:32 +0100 John Leonard j...@johnleonard.co.uk
wrote:
On the SPS200, the colour coding is Red, Yellow, Green, Blue for
tracks 1-4, being Left Front, Right Front, Left Back and Right Back,
respectively.
Paul
--
Paul Hodges
--On 10 December 2013 14:07 +0100 Jörn Nettingsmeier
netti...@stackingdwarves.net wrote:
once you toss 4 components into 2 channels, you can never perfectly
separate them again.
Reference: all other quad matrix systems ever.
Paul
--
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into place when there is no movement?
Paul
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at http://www.ambisonic.info/audio.html.
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work.
Thanks - that's now fixed.
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vessel and suspend it,
concave side facing down, below the centre of the ceiling, near its
focal point, to break up the main modes. The difference was amazing.
Just like the flying saucers in the Royal Albert Hall, in fact!
Paul
--
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recordings by reviewers. The same can
happen with Blumlein - but in this case the microphone can be moved to
reduce the effect, whereas in a recording which may also be played
correctly through a decoder it would not be appropriate.
Paul
--
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, and the extraction of speaker feeds or B-format
reflects that. This would emphasise the limitation of using
two-channel UHJ as an archive format.
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to self: check multi-channel recording setup is OK).
As an aside, I'm amused to see that the web page listing next week's
concert on the RFH organ (another must-hear) is headed by a picture of
the organ in the Albert Hall!
Paul
--
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--On 17 March 2014 15:25 + Paul Hodges pwh-surro...@cassland.org
wrote:
As an aside, I'm amused to see that the web page listing next week's
concert on the RFH organ (another must-hear) is headed by a picture of
the organ in the Albert Hall!
Oops on my part, too - not the Albert Hall
this: AudioMulch.
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speaker with
no sense of space.
But I will record the organ recitals (presuming they are included in
the test broadcasts), and examine them at leisure.
Paul
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--On 17 March 2014 21:19 + Paul Hodges pwh-surro...@cassland.org
wrote:
the audience coughing in the gaps in the
Brahms sounds from in front.
Dvorak, of course - a senior moment while typing too fast.
Paul
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even
reasonably right, once you succeed it should just keep running until a
real change is made.
Paul
(whose job is keeping computers running)
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that the current Windows SRC is pretty good,
actually.
Paul
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provides the master clock.
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, this issue is the same for any Internet audio, and
always has been.
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http://www.tslproducts.com/soundfield/surroundzone2/
Note that the Windows installer puts the 32-bit VST plugin where the
64-bit one should be and vice versa.
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uncomfortable - not that I can see any good alternative.
Paul
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--On 19 July 2014 14:59 +0200 Ralf R Radermacher fotor...@gmx.de
wrote:
I'm aware of the various possibilities to do this via an audio
interface. I'd rather capture the signal in the digital domain.
Many of these interfaces can, through their control programs, do
exactly that.
Paul
--
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be bought as a book:
http://www.blurb.co.uk/b/1356012-michael-gerzon
--
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--On 31 July 2014 11:08 -0400 Marc Lavallée m...@hacklava.net wrote:
The domain is no longer registered.
It is now.
I have asked Stephen's family for permission to rehost the web site; it
is, of course, their copyright (except for a couple of photos which are
mine).
Paul
--
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though it can't create one).
Paul
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--
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to the
site or to photos on it which are not working, please let me know and
I'll fix it.
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--On 09 August 2014 23:03 +0100 a...@andynic.eclipse.co.uk wrote:
Paul Hodges is to be congratulated for giving us this biography of
Michael Gerzon,
Just to make it clear - this site was created and written by the late
Steve Thornton, from his diaries. I merely appear as an early actor
--On 24 November 2014 21:16 + John Leonard j...@johnleonard.co.uk
wrote:
The MDR-7506 headphones are effectively the same as the MDR-V6, so
that's probably it.
I don't find binaural demos very effective; and guess what - I use
MDR-7506 headphones!
Paul
--
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that the response will be the same in every
direction in the horizontal plane.
And this is indeed the arrangement I used for my native B-format setup,
as described in the link I gave. As many of my recordings have music
from front and back, it seemed the natural thing to do.
Paul
--
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/recording.html
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to download somewhere else then transfer.) Will
continue to pursue this route.
Note that my files from Ambisonia, and John Leonard's, can be
downloaded directly from http://ambisonic.info/audio.html.
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maybe it won't fit in the margin of this email...
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's because I pretended to be
in the US, because only US and Canada can be specified as countries.
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accoun
ds to design a mic with a diaphragm size that varies
with frequency, as in the Quad ESL63 loudspeaker...
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--On 08 December 2015 10:22 + Peter Lennox <p.len...@derby.ac.uk>
wrote:
> having problems with our internet access at the
> moment...
(It's because of a severe DDoS on Janet, the UK universities network.)
Paul
--
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t believe the N.R.D.C was in existance then.
Peter Fellgett's patent 1,369,813 was filed in 1971 under the auspices
of the NRDC, and my understanding has always been that his subsequent
collaboration with MAG was under NRDC auspices from the start.
hing like SPS200...
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--On 23 February 2016 00:27 + Gerard Lardner <glard...@iol.ie>
wrote:
> It does work; I'm listening to it (wierd sound!)
It's only the first few minutes, though. I have the whole two hours as
Flac files.
Paul
--
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am
currently downloading the torrent, which originated as AGP162
at<http://www.avantgardeproject.org/torrents/>.
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--On 17 March 2016 09:30 + Peter Lennox <p.len...@derby.ac.uk>
wrote:
> Well, it looks like an ambisonic mic?
Not much trouble taken to get the capsules as close as possible, though.
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rmat which allows
precise representation of the 3D audio scene."
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6) is also in
an essentially round chapel (but that's close mic'd).
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Leonard, which
is shown here: <http://ambisonic.info/tetramic/rycote/JL.html>
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--On 25 July 2016 18:20 +0200 David Pickett <d...@fugato.com> wrote:
> Yes; but in my experience this is more predictable than how or when
> Murphy will strike!
However, Murphy can strike whatever system you are using, so choosing
one rather than another is no guarantee...
Paul
--
It's curious hearing nearly all the applause from the front in a
supposed "surround" balance.
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