Hi there,
It depends what you want to do. If you can limit yourself to fairly
rapidly moving sources, then you can get some way towards this even in FOA
especially if the replay venue is reasonably dry and the acoustic of the
soundscape is somewhat reverberant. With a bit of doppler, the appropriate
variance of direct to reverberant field and patterns of early reflections,
it will be difficult for the brains of the listeners not to perceive the
source as moving past their heads (if that's the path you've set). However,
the slower the rate of travel, the more likely it is to fall apart and
revert to the source appearing to come from no closer than the reverb
radius (usually the surface of the speaker array). If you want to go
further, you need to use NFCHOA, (see Jerome Daniel's work).
Dave
On 5 November 2014 00:21, Augustine Leudar <[email protected]>
wrote:
> 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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>
> --
> www.augustineleudar.com
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--
As of 1st October 2012, I have retired from the University.
These are my own views and may or may not be shared by the University
Dave Malham
Honorary Fellow, Department of Music
The University of York
York YO10 5DD
UK
'Ambisonics - Component Imaging for Audio'
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