I had a Max patch doing ambisonic playback running for over 12 hours a day, every day for 19 months without a hitch... Max per se is not the problem.
Best, Paul On 21 Oct 2014, at 8:14 PM, 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 -------------- A non-text attachment was scrubbed... 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