I think the thing is people think that ambisonics is some incredible magic
spatialisation technique that surpasses all others - yet is so complicated
that nobody can understand it except for a few mega nerds and
mathematicians that speak in mysterious riddles whenever you ask them
anything and therefore this feat of incredible genius is doomed to
commercial failure. This opinion it seems to me is help by people who
havent had a lot of hands on experience actually using it in a proffesional
context (ie actually producing film, theatre, sound design etc) - in fact
thats what I originally thought about . A lot of people seem to equate
ambisonics with "surround sound with height " as well (hands up I was
guilty of that too once) . Basically if I was going to design a full 360
degree soundtrack for a film (which will probably not happen by the way -
the last thing film producers want is people turning away from the screen
and looking over their shoulder because a dog barked behind them - roll on
holospheres !) - the last thing I would use ambisonics for is point sources
- ideally I would use an individual speaker in the right position as the
point source, and failing that some sort of amplitude panning . I would use
it for panning sometimes - and for some weird phase effects and a few other
things , ideally you will mix ambisonics with other spatialisation
techniques and then render your multichannel audio tracks.
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