I'm wondering - what is other artists experiences of using ambisonics to
get sounds to appear "close" to the listener - ie proximity or in WFS
focussed sources ?

On 4 November 2014 19:02, Paul Doornbusch <[email protected]> wrote:

> Hi Bo-Erik,
>
> Yup... I've been using ambisonics in music, VR and installations since
> 2000. Probably the most successful piece is Place-Hampi from 2006,
> ambisonic sound gets a good write-up in it, there's a permanent
> installation now in India, it's toured the world a bit (Lille, Karlsruhe,
> Berlin, Singapore, Melbourne, Hong Kong, Bejing etc) and it's still going.
> The ambisonic sound provides all continuity for the images and the
> spatialisation and its accuracy are key elements that make the piece work.
>
> In my experience (I may have a paper about this from a decade ago),
> ambisonic sound provides a much better sense of immersion and
> verisimilitude than stereo sound or panned sound even over the same speaker
> array. It's anecdotal, but I did test this in the early 2000s.
>
> Cheers,
> Paul
>
> On 4 Nov 2014, at 8:07 PM, Bo-Erik Sandholm <[email protected]>
> wrote:
>
> > That is why I for example want to test if a spherical still panorama I
> have taken with a mobile phone camera combined with a foa Ambisonic
> recording is better than just a fixed UHJ stereo sound. That is when played
> back with a head tracker controlling the binaural decoding direction and
> the panorama view direction.
>
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