Hi, You could try my software, Mac only. A demo version is available at
http://www.3d-audioscape.com/ It attempts to do what you want. It is first order ambisonics with a binaural decoder. There is also a binaural version. They are built with Max. On new operating systems you may need to install an older version of Java. It should tell you if so, and guide you to what and where to get it. I haven't done much updating on this site recently, but it should work. At least the manuals may give you an idea of what to do. Ciao, Dave On 22 Sep 2017, at 17:00, sursound-requ...@music.vt.edu wrote: > Send Sursound mailing list submissions to > sursound@music.vt.edu > > To subscribe or unsubscribe via the World Wide Web, visit > https://mail.music.vt.edu/mailman/listinfo/sursound > or, via email, send a message with subject or body 'help' to > sursound-requ...@music.vt.edu > > You can reach the person managing the list at > sursound-ow...@music.vt.edu > > When replying, please edit your Subject line so it is more specific > than "Re: Contents of Sursound digest..." > WHEN REPLYING EDIT THE SUBJECT LINE > > ALSO EDIT THE MESSAGE BODY > > You are receiving the digest so when replying, please remember to edit your > Subject line to that of the original message you are replying to, so it is > more specific than "Re: Contents of Sursound-list digest…" the subject should > match the post you are replying to. > > Also, please EDIT the quoted post so that it is not the entire digest, but > just the post you are replying to - this will keep the archive useful and not > polluted with extraneous posts. > > This is the responsibility of digest subscribers. the community and list > subscribers care about the integrity of the threads and archives so this is > important.Today's Topics: > > 1. Questions on Ambisonics and space / VR Radio Theater (Martin .) > 2. Re: Questions on Ambisonics and space / VR Radio Theater > (Sampo Syreeni) > 3. Re: Questions on Ambisonics and space / VR Radio Theater > (Axel Drioli) > > From: "Martin ." <blindmanona...@gmail.com> > Subject: [Sursound] Questions on Ambisonics and space / VR Radio Theater > Date: 21 September 2017 17:29:09 BST > To: Sursound@music.vt.edu > > > Hi List, > > I have lurked here for a while searching the great archive that is this > list. This is my first post here as a beginner in Ambisonics. > > I am a sound designer working on a "VR Radio Theater" project (with no > visual elements). Listeners will be wearing headphones with head trackers > and receive binaural audio. My plan is to play back the sound in > SuperCollider which can process the ambisonic signal as well as the head > tracking data, on a Raspberry Pi or similar mini computer. > > At the moment I'm using Reaper and the ATK library to design the > soundscapes, but I am starting to understand that ambisonics has very > different rules when it comes to creating a sense of space, especially > realistic ones, and this is what I would very much like some advice on. An > example would be two people talking and moving about the room that you as a > listener is sitting in the middle of. > > What processes do sound designers here use to design realistic ambisonic > spaces? Do you record it all with tetrahedral microphones? Are there good > reverb solutions to achieve this with mono recordings - or to enhance > ambisonic recordings? Do you use conventional DAWs or also game engines > like UE4 and Unity? > > The project is still pending funding so I am interested to hear both > low-budget and more expensive approaches. > > Thank you all for reading. > > Martin > -------------- next part -------------- > An HTML attachment was scrubbed... > URL: > <https://mail.music.vt.edu/mailman/private/sursound/attachments/20170921/4c2c3a44/attachment.html> > > > > From: Sampo Syreeni <de...@iki.fi> > Subject: Re: [Sursound] Questions on Ambisonics and space / VR Radio Theater > Date: 21 September 2017 18:14:27 BST > To: Surround Sound discussion group <sursound@music.vt.edu> > > > On 2017-09-21, Martin . wrote: > >> What processes do sound designers here use to design realistic ambisonic >> spaces? > > Unfortunately I'm no sound designer, or even practitioner, but I'll still but > in with a bit of basic theory. I hope you don't mind... ;) > >> Do you record it all with tetrahedral microphones? > > I'm reasonably certain that is the exception. Obviously, because ambisonic is > precisely the only end-to-end system in existence which enables systematic > capture of soundscapes, people who do such acoustic work will be > over-represented amongst the system's afficionados. But it still remains the > fact that true soundfield mics are expensive, as are the musicians playing to > them. As such the easiest, least expensive and so the most common way to > exercise the machinery remains doing it in-studio. > >> Are there good reverb solutions to achieve this with mono recordings - or to >> enhance ambisonic recordings? Do you use conventional DAWs or also game >> engines like UE4 and Unity? > > It depends: do you just want to author audio, or do you want it to track > within a game? Ambisonic uniquely goes for both, equally, so again game > people will be over-represented among the doers. But quite certainly if you > just want to produce a static soundscape, using a game engine would be > overkill. > > As for reverb in production, especially including distance from a source and > its movement over time, that side of the picture hasn't really been set in > stone anywhere. > > Early work was content to just pan the direct sound, and maybe put in some > Schroeder kinda artificial reverb into the W channel. As for distance, > panning between W and XYZ was used as a quick and dirty fix. > > What you really want to do instead is much more complicated. First, you'll > want to maximally decorrelate the reverb over the channels, so that you'll > end up with proper envelopment. For a synthetically panned source that calls > for four mutually decorrelated reverb lines, running from the source to WXYZ > (and more, if going to an higher order). You'd want to add early slap echoes > from walls and other obstacles, just as you do in stereo reverb modelling, > only now panned to come from all around. If your sound source is moving, > you'd want to model Doppler effects with a delay line, and perhaps even go as > far as to model Doppler in the strongest early echoes as well. Then if you > *really* wanted to go hyperrealistic, you'd want to model near field effects > at least for any close sources and/or echoes. > > No current software does all of that, be it DAW or game like. As is usually > the case, we bump into the fact that even plain old ambisonic, despite its > age, remains hitech which is under development. Its full potential has yet to > be unleashed, so that if you aim at the limit, you'll still often have to > roll your own. > -- > Sampo Syreeni, aka decoy - de...@iki.fi, http://decoy.iki.fi/front > +358-40-3255353, 025E D175 ABE5 027C 9494 EEB0 E090 8BA9 0509 85C2 > > > > > From: Axel Drioli <axeldri...@gmail.com> > Subject: Re: [Sursound] Questions on Ambisonics and space / VR Radio Theater > Date: 21 September 2017 18:49:09 BST > To: Surround Sound discussion group <sursound@music.vt.edu> > > > Hi Martin > > I've done my dissertation based on how to practically tell a story using > only spatial audio. You can check out my full paper here > https://www.academia.edu/33968228/Practical_use_of_Spatial_Audio_for_Storytelling > comprehensive of tools used, psychoacoustics aspects and so on. I did avoid > binaural tho, I prefer a multichannel loudspeaker system to reproduce > something like this. > > You can create convincing soundscapes combining simple ambisonics beds and > groups of sound particles (check out the software Sound Particles, free for > one year for students). > > Reverb is so important in this case, I used Spat for Max for the > spatialisation, combined with Reaper for editing. > > How many people are going to experience it in once? > > Have a quick read to the paper and let me know, I'm more then happy to help. > > Cheers > Axel > > > > > On Thu, 21 Sep 2017 at 18:14, Sampo Syreeni <de...@iki.fi> wrote: > >> On 2017-09-21, Martin . wrote: >> >>> What processes do sound designers here use to design realistic >>> ambisonic spaces? >> >> Unfortunately I'm no sound designer, or even practitioner, but I'll >> still but in with a bit of basic theory. I hope you don't mind... ;) >> >>> Do you record it all with tetrahedral microphones? >> >> I'm reasonably certain that is the exception. Obviously, because >> ambisonic is precisely the only end-to-end system in existence which >> enables systematic capture of soundscapes, people who do such acoustic >> work will be over-represented amongst the system's afficionados. But it >> still remains the fact that true soundfield mics are expensive, as are >> the musicians playing to them. As such the easiest, least expensive and >> so the most common way to exercise the machinery remains doing it >> in-studio. >> >>> Are there good reverb solutions to achieve this with mono recordings - >>> or to enhance ambisonic recordings? Do you use conventional DAWs or >>> also game engines like UE4 and Unity? >> >> It depends: do you just want to author audio, or do you want it to track >> within a game? Ambisonic uniquely goes for both, equally, so again game >> people will be over-represented among the doers. But quite certainly if >> you just want to produce a static soundscape, using a game engine would >> be overkill. >> >> As for reverb in production, especially including distance from a source >> and its movement over time, that side of the picture hasn't really been >> set in stone anywhere. >> >> Early work was content to just pan the direct sound, and maybe put in >> some Schroeder kinda artificial reverb into the W channel. As for >> distance, panning between W and XYZ was used as a quick and dirty fix. >> >> What you really want to do instead is much more complicated. First, >> you'll want to maximally decorrelate the reverb over the channels, so >> that you'll end up with proper envelopment. For a synthetically panned >> source that calls for four mutually decorrelated reverb lines, running >> from the source to WXYZ (and more, if going to an higher order). You'd >> want to add early slap echoes from walls and other obstacles, just as >> you do in stereo reverb modelling, only now panned to come from all >> around. If your sound source is moving, you'd want to model Doppler >> effects with a delay line, and perhaps even go as far as to model >> Doppler in the strongest early echoes as well. Then if you *really* >> wanted to go hyperrealistic, you'd want to model near field effects at >> least for any close sources and/or echoes. >> >> No current software does all of that, be it DAW or game like. As is >> usually the case, we bump into the fact that even plain old ambisonic, >> despite its age, remains hitech which is under development. Its full >> potential has yet to be unleashed, so that if you aim at the limit, >> you'll still often have to roll your own. >> -- >> Sampo Syreeni, aka decoy - de...@iki.fi, http://decoy.iki.fi/front >> +358-40-3255353 <http://decoy.iki.fi/front+358-40-3255353>, 025E D175 >> ABE5 027C 9494 EEB0 E090 8BA9 0509 85C2 >> _______________________________________________ >> Sursound mailing list >> Sursound@music.vt.edu >> https://mail.music.vt.edu/mailman/listinfo/sursound - unsubscribe here, >> edit account or options, view archives and so on. >> > -- > Axel Drioli > Immersive Audio Designer, Editor and Mixer / Music recording and mixing > engineer > Tel: > > +44 7460 223640 > > - > Skype > : > > axel.drioli > Concept Creator > // Spatial Audio Producer, Designer and Mixer > of > > Eridanus, the 3D Audio Movie. > > www.facebook.com/eridanus3dsound > -------------- next part -------------- > An HTML attachment was scrubbed... > URL: > <https://mail.music.vt.edu/mailman/private/sursound/attachments/20170921/8bef3261/attachment.html> > > > _______________________________________________ > Sursound mailing list > Sursound@music.vt.edu > https://mail.music.vt.edu/mailman/listinfo/sursound > > WHEN REPLYING EDIT THE SUBJECT LINE > > ALSO EDIT THE MESSAGE BODY _______________________________________________ Sursound mailing list Sursound@music.vt.edu https://mail.music.vt.edu/mailman/listinfo/sursound - unsubscribe here, edit account or options, view archives and so on.
