Dear Richard,
I can't make the material available publicly as you might expect.
But mhacoustics has some raw EM demo recordings on their website:
http://mhacoustics.com/download
For some recordings we compared the EM with the ST450 and for some with
the SPS200.
I used several different playback rigs, varying from 15-30 loudspeakers
(mostly hemispherical, once in a full sphere) and I was happy with the
result in each case. I exclusively used the AllRAD decoder.
In the IEM Cube (24 spk) we compared AllRAD with the ones included in
Spat (Energy-preserving, Mode-matching). Each of the decoders sounded
slightly different for the EM recordings. Interestingly the capsule
noise was audible at a different level for each of the decoders.
The radial filters are not part of the decoder, they are part of the
encoding process to get from 32 microphone signals to the HOA signals.
Here you can get some information on this part, but the filter
coefficients itself are not public domain.
http://iaem.at/Members/zotter/2015_loeslerzotter_sphmicradialfiltdesgn_daga.pdf
Best, Matthias
On 20/05/15 14:28, Richard Lee wrote:
Mathias, can you please post these recordings on ambisonia.com
The Furse-Malham *.AMB format allows up to 3rd order
These would be the first publically available live HOA recordings of music from
a HOA mike and may re-surrect the discussion of HOA decoders
Which Soundfield did you use?
What was the Playback Speaker Rig? How many, how many levels?
What was the Decoder?
Is the L?sler/Zotter decoder in the Public Domain? Or even a description?
From: Matthias Kronlachner <[email protected]>
To: [email protected]
Subject: Re: [Sursound] Converting 16 mic array recording to B format
FWIW, I have Eigenmike recordings from the Essen Philharmonic (a
contemporary piece performed by musikFabrik K?ln) - they have been
sitting on my hard drive for more than a year because I couldn't get
studio time anywhere to do anything with it. Matthias Kronlachner was
part of that project, he might have done something with them.
I did not do any mixing of the material, but the IEM Graz played
excerpts of the Eigenmike recording on several occasions eg. at the
Ambisonics Symposium in Berlin and people did like it very much.
The 360? video recording is not so useful from this recording as it was
very dark in the hall and the resolution is not that great. But who
needs video if the sound is great ;-)
I did quite a number of recordings since then with the EM. Compared to a
first order recording you can use a larger number of loudspeakers for
playback and achieve a bigger sweet spot. The immersiveness is really
nice! At the IEM we did several informal comparisons with switching
between EM, a Soundfield (decoded 1st order and 3rd order with Harpex)
and a Schoeps Omni as reference. All of these configurations have their
use cases, but the representation of the space was always best with the EM.
The problem of limited bandwith for each order though makes it difficult
to achieve the same tonal balance when changing the decoder/loudspeaker
configuration.
But using good radial filters eg. by Mr. L?sler/Zotter (which is the
only thing needed to process EM recordings that are currently not
available to the public as far as I know) gives you something to start
with and only little EQ is needed to get a convincing playback.
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