Hey folks, I may be a bit late to joining this discussion. But I am trying to do the exact same thing in Max. Augustine, can you describe your setup? Are you encoding the audio in Max? Where is the decoding being done?
-ap On Fri, Oct 17, 2014 at 4:44 PM, Augustine Leudar <[email protected] > wrote: > Thats weird because I use ambipanning for live shows all the time with up > to 32 speakers and have no latency problems. The difference is though I > just use them with Max not through ableton. Have you thought of having > seperate audio channels coming out of your favourite Daw and just route > them into audio inputs of max to be spatialised ? > > On 17 September 2014 06:52, Peter Lennox <[email protected]> wrote: > > > I'll be interested to hear about your progress. > > > > In the back of my garage, I have a zero-latency 8-way 1st order > > encode-decode device (it even has a 4-way 1st order feed for subs). It's > > wholly analogue, and we used it in Ambisonix Dance nights in the 90's. > The > > 4 outputs of an analogue desk passed into 4 inputs which were encoded as > > front-left, front right, back-right, back left. Movement was crudely > > achieved by simply cross fading across the buses in the desk. > Additionally, > > a through-route for B-format recordings (or indeed, the output from a > > computer that was encoding to b-format) passed into the decode section of > > the device. The device looks like some monstrous breadboard from Baron > Von > > Frankenstein's lab, bodged into an ex military 19" rack mount (so you > could > > stand an elephant on it, if need be- though we never called on this > > particular facility). I think it might not pass PAT criteria today. > > > > If such a device seems rather crude and a world away from HOA - well, it > > was. On the other hand, it never crashed. But an interesting point - I > > never heard a club-goer complain about the lack of precision of phantom > > imagery - focus, ensemble depth, apparent source width, any of those > > things. It wasn't for electroacoustic concerts, or virtual reality. > > > > Years later, I had a student, Caryl Jones, carry out a study on potential > > DJ tools for ambisonics. Unsurprisingly, perhaps, she found many of the > > more subtle effects possible in ambisonics were wasted -and too > cumbersome > > to operate in real time by the DJ (even when she tracked down the > hardcore > > of intelligent DJs who wanted to experiment). Instead, simple to operate > > and with maximum possible perceptual changes seemed to be the order of > the > > day - and most importantly, stuff that had (or could have) a 'musical > > reason for existing' in the club context. > > > > Finally, in a series of experiments at the Glade festival, with Tony and > > John of Funktion One, my collegue (Bruce Wiggins) and I experimented in > > that context with a system that used F1's 1st order analogue > encode-decode > > chain, and Bruce's (2rd order)software chain, operating in parallel into > > the 8 channel speaker array - again with a 4-way sub arrangement. That > was > > when we first heard John Leonard's "when geese go bad" recording over a > > 40kW rig - result: Dinosaur-size geese. And in sound testing, the > motorbike > > recordings (from Soundfield's website) drove the council guys with their > > sound level measuring gear bonkers - they couldn't work out where the > > lunatic on the bike was. > > The flypast of the spitfires wasn't bad, too. > > > > So, I'm saying that a solution that allows parallel processing, so that > > some things can be quick-and-dirty, whilst others can be > > precise-but-complex, might suit your needs? > > Regards > > ppl > > Dr. Peter Lennox > > > > School of Technology, > > Faculty of Arts, Design and Technology > > University of Derby, UK > > e: [email protected] > > t: 01332 593155 > > > > > > -----Original Message----- > > From: Sursound [mailto:[email protected]] On Behalf Of Jake > > Williams > > Sent: 16 September 2014 22:17 > > To: [email protected] > > Subject: [Sursound] Low-latency, ultra-stable Ambisonics for club > install? > > > > Hello everyone! > > > > I thought after the obligatory period of lurking and digging I'd raise my > > head and say hello - and hopefully canvas some opinions from your wealth > of > > experience here. I met a few of you earlier in the year at the iX > > Symposium in Montreal (I was doing the music for the live, improvised > > full-dome / Ambisonic AV show Fragments). > > > > Though I have worked on multi-channel pieces before, Fragments was my > > first foray into Ambisonics and since then I have been rather obsessed > > (although my grasp of the science is still a little shaky). > > > > Anyways, to cut to the chase - I am now working on designing some effects > > for a nightclub install - the idea being that there will be a subtle > > spatialisation of the DJ FX over the 8 speakers using, hopefully, > > Ambisonics. Basically I am researching the best way to do this. For > > Fragments I used Ableton going into the ICST externals in MaxMSP, but I > > can't get the latency low enough for a realtime, live signal without > > glitching and instability (the audio was all inside Ableton for the show, > > so a high buffer size was possible). The producers of the project are > keen > > not to use standard home computers, so I am looking for a rock-solid, > very > > low latency solution. What are your guys thoughts? From digging in the > > archives (admittedly only as far back as 2011) I have identified some > > different possibilities - > > > > 1. Ambdec on something running Linux > > 2. HOA on something running PureData (maybe Linux again?) 3. Ambi-X on > > Reaper (though this is only PC or Mac?) 3. Some sort of bespoke > > microprocessor solution, maybe based on Ambisonic Equivalent Panning? > > 4. Some sort of control over VCA faders in a quasi-analogue solution > > (though I have seen posts about this where you guys are not keen :-) 5. > > Has anyone run Ambisonics on a Kyma system?? > > > > We will be feeding live FX sends into the system to be spatialised in > some > > preset patterns in it's basic operational mode.. it will of course be > > customisable for bespoke shows. > > > > Anyways if any of you have any input I would be very grateful :-) > > > > Cheers > > > > Jake > > > > > > Jake Williams > > > > +44 7932 645145 > > http://www.jakeone.co.uk > > http://www.fragmentsav.com > > > > > > > > > > > > > > > > > > > > > > > > > > -------------- next part -------------- > > An HTML attachment was scrubbed... > > URL: < > > > https://mail.music.vt.edu/mailman/private/sursound/attachments/20140916/d4347151/attachment.html > > > > > _______________________________________________ > > Sursound mailing list > > [email protected] > > https://mail.music.vt.edu/mailman/listinfo/sursound - unsubscribe here, > > edit account or options, view archives and so on. > > > > The University of Derby has a published policy regarding email and > > reserves the right to monitor email traffic. If you believe this was sent > > to you in error, please select unsubscribe. > > > > Unsubscribe and Security information contact: [email protected] > > For all FOI requests please contact: [email protected] > > All other Contacts are at http://www.derby.ac.uk/its/contacts/ > > _______________________________________________ > > Sursound mailing list > > [email protected] > > https://mail.music.vt.edu/mailman/listinfo/sursound - unsubscribe here, > > edit account or options, view archives and so on. > > > > > > -- > www.augustineleudar.com > -------------- next part -------------- > An HTML attachment was scrubbed... > URL: < > https://mail.music.vt.edu/mailman/private/sursound/attachments/20141017/46aca795/attachment.html > > > _______________________________________________ > Sursound mailing list > [email protected] > https://mail.music.vt.edu/mailman/listinfo/sursound - unsubscribe here, > edit account or options, view archives and so on. > -------------- next part -------------- An HTML attachment was scrubbed... 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