Thanks - I have already spent a lot of time in tropical climates sound recording. What I really would like is few recomendations of ambisonic microphones available on the market (if their are any !) , best, Gus
On 2 December 2010 17:00, <[email protected]> wrote: > Send Sursound mailing list submissions to > [email protected] > > To subscribe or unsubscribe via the World Wide Web, visit > https://mail.music.vt.edu/mailman/listinfo/sursound > or, via email, send a message with subject or body 'help' to > [email protected] > > You can reach the person managing the list at > [email protected] > > When replying, please edit your Subject line so it is more specific > than "Re: Contents of Sursound digest..." > > > When replying, please remember to edit your Subject line to that of the > original message you are replying to, so it is more specific than "Re: > Contents of Sirsound-list digest..." > > > Today's Topics: > > 1. Best ambisonic microphone to go with DR-680 ? (Augustine Leudar) > 2. Re: DBAP, VDP, VBAP, and Ambisonics (Sampo Syreeni) > 3. Re: Universal Ambisonic 0.98 (Sampo Syreeni) > 4. Re: A conversion guide ? (Sampo Syreeni) > 5. Re: Best ambisonic microphone to go with DR-680 ? > ([email protected]) > 6. Re: A conversion guide ? (George Kierstein) > 7. Another plugin inquiry... (George Kierstein) > 8. Re: Another plugin inquiry... (Paul Hodges) > 9. Re: Another plugin inquiry... (George Kierstein) > 10. Re: Another plugin inquiry... (Ronald C.F. Antony) > 11. Re: Another plugin inquiry... (Dave Malham) > 12. Re: Another plugin inquiry... (Trond Lossius) > 13. Re: Another plugin inquiry... (Dave Malham) > 14. ICMC 2011 - Call for Musical Works and Papers > (Pierre Alexandre Tremblay) > > > ---------------------------------------------------------------------- > > Message: 1 > Date: Wed, 1 Dec 2010 18:34:02 +0000 > From: Augustine Leudar <[email protected]> > Subject: [Sursound] Best ambisonic microphone to go with DR-680 ? > To: [email protected] > Message-ID: > <[email protected]> > Content-Type: text/plain; charset="iso-8859-1" > > Hello, > I'm looking to make some ambisonic recordings in the jungle. The DR-680 > should be able to do this as it has six inputs. I was wondering if anyone > had any suggestions for microphones/setups that would be able to record six > channels simultaneously (including height info) ? > best , > Gus > -------------- next part -------------- > An HTML attachment was scrubbed... > URL: < > https://mail.music.vt.edu/mailman/private/sursound/attachments/20101201/8e94ca17/attachment.html > > > > > ------------------------------ > > Message: 2 > Date: Wed, 1 Dec 2010 23:03:42 +0200 (EET) > From: Sampo Syreeni <[email protected]> > Subject: Re: [Sursound] DBAP, VDP, VBAP, and Ambisonics > To: Surround Sound discussion group <[email protected]> > Message-ID: <[email protected]> > Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed > > On 2010-11-15, [email protected] wrote: > > > Basically it's the equivalent of adding an AMB decoder to each panner > > instead of keeping this factored out to the playback environment. > > With all of these so called "new spatial techniques/formats" coming out > as people gain access to cheap technology, do we have any hard > classification criteria out there which might help us, as the acoustics > community, to separate the wheat from the chaff? I mean, tell trivial > elaboration upon a well-known theme from genuine innovation? > > To my ear most of these new papers rehash the same, basic analysis: > amplitude panning, delay panning, and a number of different low order > approximations towards full field reconstruction (HOA, WFS, and also the > multipole, arbitrary alignment L^2 norm stuff within the IEEE circuit). > To my hindbrain, there is more commonality and obvious mathematical > unity to this sort of work than genuine, groundbreaking innovation, > here. And I'm rather sure that if I think that way, as an amateur and > even math-wise a wannabe, many empirically experienced and also > theoretically well-versed, real authorities on-list *must* think the > same. It just can't be good for the science or the industry that people > spin up new words for old technology, or try to establish themselves as > the guardian of the newest buzz-word, without genuine innovation. Not > economically, nor especially academically. > > As such I think we should try to catalogue and put into concrete writing > all of the approaches to spatial sound recording, transmission and > reproduction that we have. In a casual format. But still in a way that > is enough to throw at a patent inspector as prior art, and to a journal > editor, so that all of these new acronyms can be stemmed at the root > even within the academia. > > > While it's a valid approach, I can't see *why* anyone would want to do > > this. You can always use an AMB decoder on the mixed signal. > > And I repeat: I'm seeing this sort of comment more and more on-list, and > even in the literature. In my mind this simply has to stop. Otherwise > we're going to end with two very wasteful things in the long run: a) > much new, genuine acoustical talent running off with their own, > reinvented stuff, reduplicating what is already known, and b) much > spurious patenting and other intellectual property mayhem, which not > only hinders the progress on our field, but could in fact close already > known and once-freed technology from wide-spread recognition and > utilization. > > As a follow-by, wannabe, theretics-only kinda fellow, I can't do > anything about this sort of stuff directly. I can only rally up support, > and perhaps facilitate the movement a little bit. So how about all of > you doctors, producers, engineers, chairs, whathaveyou on this list? Do > you not also think that something should be done to curtail the > proliferation of null results and all too many "minimum publishable > units" within the spatial audio field? > -- > Sampo Syreeni, aka decoy - [email protected], http://decoy.iki.fi/front > +358-50-5756111 <http://decoy.iki.fi/front%0A+358-50-5756111>, 025E D175 > ABE5 027C 9494 EEB0 E090 8BA9 0509 85C2 > > > ------------------------------ > > Message: 3 > Date: Wed, 1 Dec 2010 23:53:33 +0200 (EET) > From: Sampo Syreeni <[email protected]> > Subject: Re: [Sursound] Universal Ambisonic 0.98 > To: Surround Sound discussion group <[email protected]> > Message-ID: <[email protected]> > Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed > > On 2010-11-25, [email protected] wrote: > > > The column heading says 'conversion to B-format/FMH', and the values > > are prefixed by an 'x'. This suggests that to get FMH you have to > > multiply the N3D component by the value listed. [...] > > May I suggest that when we go into these kinds of details, everybody > then use the formal physical (acoustical) conventions? And disambiguate, > using references, what they really mean. So that the discussion doesn't > devolve into a pissing match? ;) > > If need be, everybody who's anybody should already be able to go right > downto micropascals and spherical harmonic coefficients right now. > -- > Sampo Syreeni, aka decoy - [email protected], http://decoy.iki.fi/front > +358-50-5756111 <http://decoy.iki.fi/front%0A+358-50-5756111>, 025E D175 > ABE5 027C 9494 EEB0 E090 8BA9 0509 85C2 > > > ------------------------------ > > Message: 4 > Date: Wed, 1 Dec 2010 23:57:17 +0200 (EET) > From: Sampo Syreeni <[email protected]> > Subject: Re: [Sursound] A conversion guide ? > To: Surround Sound discussion group <[email protected]> > Message-ID: <[email protected]> > Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed > > On 2010-11-24, George Kierstein wrote: > > > Hi, I haven't been too successful in finding a conversion guide > > between different formats. > > There is no such thing as a comprehensive guide on how to convert. What > we have is a digital zoo, all with lions and rhinos, which then either > aren't interconvertible at all, or which you have to figure out > yourself, with varying mileage. > -- > Sampo Syreeni, aka decoy - [email protected], http://decoy.iki.fi/front > +358-50-5756111 <http://decoy.iki.fi/front%0A+358-50-5756111>, 025E D175 > ABE5 027C 9494 EEB0 E090 8BA9 0509 85C2 > > > ------------------------------ > > Message: 5 > Date: Thu, 2 Dec 2010 00:11:22 +0100 > From: [email protected] > Subject: Re: [Sursound] Best ambisonic microphone to go with DR-680 ? > To: [email protected] > Message-ID: <20101201231122.gj4...@zita2> > Content-Type: text/plain; charset=us-ascii > > On Wed, Dec 01, 2010 at 06:34:02PM +0000, Augustine Leudar wrote: > > > I'm looking to make some ambisonic recordings in the jungle. The DR-680 > > should be able to do this as it has six inputs. I was wondering if > anyone > > had any suggestions for microphones/setups that would be able to record > six > > channels simultaneously (including height info) ? > > Your worst enemies in the jungle will be humidity and assorted very > small animals creeping into places where you don't expect them. > I know of one person who's used a Soundfield in the Central African > jungle. His name is David Monacchi, you'll find him using Google. > I'm sure he will have some good hints. > > Ciao, > > -- > FA > > There are three of them, and Alleline. > > > > ------------------------------ > > Message: 6 > Date: Wed, 1 Dec 2010 18:17:08 -0500 > From: George Kierstein <[email protected]> > Subject: Re: [Sursound] A conversion guide ? > To: Surround Sound discussion group <[email protected]> > Message-ID: > <[email protected]> > Content-Type: text/plain; charset="iso-8859-1" > > Ha! Great analogy... > ;) > > On Wed, Dec 1, 2010 at 4:57 PM, Sampo Syreeni <[email protected]> wrote: > > > On 2010-11-24, George Kierstein wrote: > > > > Hi, I haven't been too successful in finding a conversion guide between > >> different formats. > >> > > > > There is no such thing as a comprehensive guide on how to convert. What > we > > have is a digital zoo, all with lions and rhinos, which then either > aren't > > interconvertible at all, or which you have to figure out yourself, with > > varying mileage. > > -- > > Sampo Syreeni, aka decoy - [email protected], http://decoy.iki.fi/front > > +358-50-5756111, 025E D175 ABE5 027C 9494 EEB0 E090 8BA9 0509 85C2 > > > > _______________________________________________ > > Sursound mailing list > > [email protected] > > https://mail.music.vt.edu/mailman/listinfo/sursound > > > -------------- next part -------------- > An HTML attachment was scrubbed... > URL: < > https://mail.music.vt.edu/mailman/private/sursound/attachments/20101201/6bdb69a7/attachment.html > > > > > ------------------------------ > > Message: 7 > Date: Wed, 1 Dec 2010 18:20:58 -0500 > From: George Kierstein <[email protected]> > Subject: [Sursound] Another plugin inquiry... > To: [email protected] > Message-ID: > <[email protected]> > Content-Type: text/plain; charset="iso-8859-1" > > Is the such a thing as an ambisonic delay plugin ? That would be nifty! > Thanks > -------------- next part -------------- > An HTML attachment was scrubbed... > URL: < > https://mail.music.vt.edu/mailman/private/sursound/attachments/20101201/10557242/attachment.html > > > > > ------------------------------ > > Message: 8 > Date: Wed, 01 Dec 2010 23:31:12 +0000 > From: Paul Hodges <[email protected]> > Subject: Re: [Sursound] Another plugin inquiry... > To: Surround Sound discussion group <[email protected]> > Message-ID: <[email protected]> > Content-Type: text/plain; charset=us-ascii > > --On 01 December 2010 18:20 -0500 George Kierstein > <[email protected]> wrote: > > > ambisonic delay plugin > > What would make a delay ambisonic? > > Paul > > -- > Paul Hodges > > > > > ------------------------------ > > Message: 9 > Date: Wed, 1 Dec 2010 19:00:01 -0500 > From: George Kierstein <[email protected]> > Subject: Re: [Sursound] Another plugin inquiry... > To: Surround Sound discussion group <[email protected]> > Message-ID: > <[email protected]> > Content-Type: text/plain; charset="iso-8859-1" > > I was thinking of one that would bounce point sources placed in a sound > field around with a given timing and relative placement -- akin to stereo > echo-delay. > > I've found quite a few nice plugins that will place/pan a source into a > conceptual field, but once you have sent it into the encoding chain the > only > way I can currently see to emulate a delay would be rather manual. > > On Wed, Dec 1, 2010 at 6:31 PM, Paul Hodges <[email protected] > >wrote: > > > --On 01 December 2010 18:20 -0500 George Kierstein > > <[email protected]> wrote: > > > > > ambisonic delay plugin > > > > What would make a delay ambisonic? > > > > Paul > > > > -- > > Paul Hodges > > > > > > _______________________________________________ > > Sursound mailing list > > [email protected] > > https://mail.music.vt.edu/mailman/listinfo/sursound > > > -------------- next part -------------- > An HTML attachment was scrubbed... > URL: < > https://mail.music.vt.edu/mailman/private/sursound/attachments/20101201/d7127ccf/attachment.html > > > > > ------------------------------ > > Message: 10 > Date: Thu, 2 Dec 2010 02:55:19 -0500 > From: "Ronald C.F. Antony" <[email protected]> > Subject: Re: [Sursound] Another plugin inquiry... > To: Surround Sound discussion group <[email protected]> > Message-ID: <[email protected]> > Content-Type: text/plain; charset=us-ascii > > There are ambisonic IR reverbs. So basically, what you'd need to have or > calculate would be an IR, and then any multi-channel convolving reverb > should be able to do it, i.e. things like SpaceDesigner or AltiVerb. > > Ronald > > On 1 Dec 2010, at 18:20, George Kierstein wrote: > > > Is the such a thing as an ambisonic delay plugin ? That would be > nifty! > > Thanks > > -------------- next part -------------- > > An HTML attachment was scrubbed... > > URL: < > https://mail.music.vt.edu/mailman/private/sursound/attachments/20101201/10557242/attachment.html > > > > _______________________________________________ > > Sursound mailing list > > [email protected] > > https://mail.music.vt.edu/mailman/listinfo/sursound > > > > ------------------------------ > > Message: 11 > Date: Thu, 02 Dec 2010 09:06:44 +0000 > From: Dave Malham <[email protected]> > Subject: Re: [Sursound] Another plugin inquiry... > To: Surround Sound discussion group <[email protected]> > Message-ID: <[email protected]> > Content-Type: text/plain; charset=ISO-8859-1; format=flowed > > This would be relatively easy to do using your DAW*** of choice's > automation using a combination of > existing panner plugins plus some delay plugins... > > Dave > > *** always assuming it deals with multichannel audio (and plugins) in a > sane way, unlike some I > could mention! > > On 02/12/2010 00:00, George Kierstein wrote: > > I was thinking of one that would bounce point sources placed in a sound > > field around with a given timing and relative placement -- akin to stereo > > echo-delay. > > > > I've found quite a few nice plugins that will place/pan a source into a > > conceptual field, but once you have sent it into the encoding chain the > only > > way I can currently see to emulate a delay would be rather manual. > > > > On Wed, Dec 1, 2010 at 6:31 PM, Paul Hodges<[email protected] > >wrote: > > > >> --On 01 December 2010 18:20 -0500 George Kierstein > >> <[email protected]> wrote: > >> > >>> ambisonic delay plugin > >> What would make a delay ambisonic? > >> > >> Paul > >> > >> -- > >> Paul Hodges > >> > >> > >> _______________________________________________ > >> Sursound mailing list > >> [email protected] > >> https://mail.music.vt.edu/mailman/listinfo/sursound > >> > > -------------- next part -------------- > > An HTML attachment was scrubbed... > > URL:< > https://mail.music.vt.edu/mailman/private/sursound/attachments/20101201/d7127ccf/attachment.html > > > > _______________________________________________ > > Sursound mailing list > > [email protected] > > https://mail.music.vt.edu/mailman/listinfo/sursound > > -- > These are my own views and may 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/"; */ > /* The University of York Phone 01904 432448 */ > /* Heslington Fax 01904 432450 */ > /* York YO10 5DD */ > /* UK 'Ambisonics - Component Imaging for Audio' */ > /* "http://www.york.ac.uk/inst/mustech/3d_audio/"; */ > /*********************************************************************/ > > > > ------------------------------ > > Message: 12 > Date: Thu, 2 Dec 2010 10:11:13 +0100 > From: Trond Lossius <[email protected]> > Subject: Re: [Sursound] Another plugin inquiry... > To: Surround Sound discussion group <[email protected]> > Message-ID: <[email protected]> > Content-Type: text/plain; charset=us-ascii > > I would imaging that you could build this in a pretty straight-forward way > using e.g. Max or Bidule by combining one or more 4-channel delays (same > delay time on all four channels) and a plugin for rotating the B-format > signal, also adding feedback to the system. > > > Cheers, > Trond > > > On Dec 2, 2010, at 1:00 AM, George Kierstein wrote: > > > I was thinking of one that would bounce point sources placed in a sound > > field around with a given timing and relative placement -- akin to stereo > > echo-delay. > > > > I've found quite a few nice plugins that will place/pan a source into a > > conceptual field, but once you have sent it into the encoding chain the > only > > way I can currently see to emulate a delay would be rather manual. > > > > On Wed, Dec 1, 2010 at 6:31 PM, Paul Hodges <[email protected] > >wrote: > > > >> --On 01 December 2010 18:20 -0500 George Kierstein > >> <[email protected]> wrote: > >> > >>> ambisonic delay plugin > >> > >> What would make a delay ambisonic? > >> > >> Paul > >> > >> -- > >> Paul Hodges > >> > >> > >> _______________________________________________ > >> Sursound mailing list > >> [email protected] > >> https://mail.music.vt.edu/mailman/listinfo/sursound > >> > > -------------- next part -------------- > > An HTML attachment was scrubbed... > > URL: < > https://mail.music.vt.edu/mailman/private/sursound/attachments/20101201/d7127ccf/attachment.html > > > > _______________________________________________ > > Sursound mailing list > > [email protected] > > https://mail.music.vt.edu/mailman/listinfo/sursound > > > > > > ------------------------------ > > Message: 13 > Date: Thu, 02 Dec 2010 09:41:01 +0000 > From: Dave Malham <[email protected]> > Subject: Re: [Sursound] Another plugin inquiry... > To: Surround Sound discussion group <[email protected]> > Message-ID: <[email protected]> > Content-Type: text/plain; charset=ISO-8859-1; format=flowed > > That's very similar, in fact, to the field delay function Dylan had in his > LAmb software for the > SGI Indy computer, back in 1996... > > On 02/12/2010 09:11, Trond Lossius wrote: > > I would imaging that you could build this in a pretty straight-forward > way using e.g. Max or Bidule by combining one or more 4-channel delays (same > delay time on all four channels) and a plugin for rotating the B-format > signal, also adding feedback to the system. > > > > > > Cheers, > > Trond > > > > > > On Dec 2, 2010, at 1:00 AM, George Kierstein wrote: > > > >> I was thinking of one that would bounce point sources placed in a sound > >> field around with a given timing and relative placement -- akin to > stereo > >> echo-delay. > >> > >> I've found quite a few nice plugins that will place/pan a source into a > >> conceptual field, but once you have sent it into the encoding chain the > only > >> way I can currently see to emulate a delay would be rather manual. > >> > >> On Wed, Dec 1, 2010 at 6:31 PM, Paul Hodges<[email protected] > >wrote: > >> > >>> --On 01 December 2010 18:20 -0500 George Kierstein > >>> <[email protected]> wrote: > >>> > >>>> ambisonic delay plugin > >>> What would make a delay ambisonic? > >>> > >>> Paul > >>> > >>> -- > >>> Paul Hodges > >>> > >>> > >>> _______________________________________________ > >>> Sursound mailing list > >>> [email protected] > >>> https://mail.music.vt.edu/mailman/listinfo/sursound > >>> > >> -------------- next part -------------- > >> An HTML attachment was scrubbed... > >> URL:< > https://mail.music.vt.edu/mailman/private/sursound/attachments/20101201/d7127ccf/attachment.html > > > >> _______________________________________________ > >> Sursound mailing list > >> [email protected] > >> https://mail.music.vt.edu/mailman/listinfo/sursound > >> > > _______________________________________________ > > Sursound mailing list > > [email protected] > > https://mail.music.vt.edu/mailman/listinfo/sursound > > -- > These are my own views and may 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/"; */ > /* The University of York Phone 01904 432448 */ > /* Heslington Fax 01904 432450 */ > /* York YO10 5DD */ > /* UK 'Ambisonics - Component Imaging for Audio' */ > /* "http://www.york.ac.uk/inst/mustech/3d_audio/"; */ > /*********************************************************************/ > > > > ------------------------------ > > Message: 14 > Date: Thu, 2 Dec 2010 16:46:54 +0000 > From: Pierre Alexandre Tremblay <[email protected]> > Subject: [Sursound] ICMC 2011 - Call for Musical Works and Papers > To: Surround Sound discussion group <[email protected]> > Message-ID: <[email protected]> > Content-Type: text/plain; charset=windows-1252 > > Dear all > > My Huddersfield colleagues and I are pleased to announce the call for Works > and Papers for the next edition of the ICMC. We are particularly proud of > the different categories under which works can be submitted, and some daring > panel titles too! > > Please feel free to disseminate around, and accept our apologies for the > cross-posting! > > pa > > ===== > > Call for Music: ICMC 2011 > http://icmc2011.org.uk/submit/calls/music/ > > > Call for Papers: ICMC 2011 > http://icmc2011.org.uk/submit/calls/papers/ > > The Centre for Research in New Music (CeReNeM) at the University of > Huddersfield will host the International Computer Music Conference (ICMC) in > Huddersfield (West Yorkshire, United Kingdom) from 31 July to 5 August 2011. > We invite the submission of music and papers exploring the intersection of > music technology research and computer music creation, under the theme > ?Innovation, Inspiration, Interaction?. Further details are available at the > conference website (http://www.icmc2011.org.uk). > > > Schedule: > > Submission Opens: 6 December 2010 > Submission Deadline: 18 January 2011 > Jury Notification: 4 April 2011 > Registration Opens: 4 April 2011 > Camera Ready Submission Deadline: 11 May 2011 > Early Bird Registration Deadline: 1 June 2011 > > ------------------------------ > > _______________________________________________ > Sursound mailing list > [email protected] > https://mail.music.vt.edu/mailman/listinfo/sursound > > > End of Sursound Digest, Vol 29, Issue 2 > *************************************** > -- 07812675974 -------------- next part -------------- An HTML attachment was scrubbed... URL: <https://mail.music.vt.edu/mailman/private/sursound/attachments/20101203/87bd7b48/attachment.html> _______________________________________________ Sursound mailing list [email protected] https://mail.music.vt.edu/mailman/listinfo/sursound
