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 of traditional music formats and
idioms (yawn). Implication - composers trying to compose new sounds
which do surround the audience should look elsewhere - or perhaps not
bother at all? The spectacle of seeing people on this list for ever
trying to promote this "new" system in terms of existing music, when
stereo is actually good enough for that material already, is more than a
little disconcerting.
If it of any interest whatsoever to this list: last year Trevor Wishart
completed a new 8-channel surround work "Encounters in the Republic of
Heaven". Reviews to date collectively suggest this work is very likely
(a) a masterpiece and (b) universally accessible, e.g.:
http://www.thebubble.org.uk/music/encounters-during-the-republic-of-heaven
Needless to say he wrote a number of new software tools for CDP to
manage his audio routing. Now, I ~could~ quietly suggest that he might
consider a mix for 5.1 delivery using B-Format (currently all that is
available to buy is a stereo mixdown), but if everyone sticks rigidly to
the notion that music only exists "in front", I see no point in trying.
So, what ~is~ the point of this list, exactly?
Richard Dobson
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