Hi Jake If you strip the OS to only essential stuff, and run off ssd, you shouldn't really have any problems. I have only had problems when other services are running that aren't needed. Or if mechanical drives are used. This also means a very small discreet computer may be used.
Regards Steve On 21 Oct 2014 10:14, "Jake Williams" <[email protected]> wrote: > Hey guys, > > Yes I think a lot of the latency comes from the Ableton - Max hookup > through Jack. We tried Max standalone running ICST ambiencode/decode > recently and had no problems. > > I guess the worry is running a computer with Max over a long period of > time without glitches, crashes.. > > Best > > Jake. > > > > > > > Jake Williams > > +44 7932 645145 > http://www.jakeone.co.uk > http://www.fliesandflies.com > > > > > > > > > > > On 17 Oct 2014, at 23:08, Anthony Palomba <[email protected]> wrote: > > > 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... > > URL: < > https://mail.music.vt.edu/mailman/private/sursound/attachments/20141017/33f6707f/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... > URL: < > https://mail.music.vt.edu/mailman/private/sursound/attachments/20141021/12c39ec3/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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