>>>>> "S" == Sean Devonport <[email protected]> writes:
S> Want to know if anyone in this group has experience with AllRAD
S> decoding to physical loudspeakers?
Hi Sean.
Just want to add some practical notes to all the great comments already
in this thread.
I've used ADT a lot, mostly setting up AllRAD decoders, but also other
approaches (the 'Shoebox' examples coming with ADT was Aaron helping me
with my first attempts).
We've got a performance group here, the EAU, specializing in performing
3d spatialization of loudspeaker based music (electroacoustic,
acousmatic, whatnot). We play around at various spaces, more often than
not having to optimize for irregular spaces and irregular speaker
setups. Most of the material we get from composers is Ambisonics
encoded in various guises.
I use the ADT to set up decoders on a per-piece basis, trying to get as
much as possible rehearsal time to compare various decoder topologies
and settings. Once the speakers are rigged and measured, and
coordinates registered in an .m file according to the ADT spec, it's
really fast to build and check all types and variants of decoders.
A few experiences, based on listening:
- AllRAD tends to be more robust towards irregular speaker layouts.
Placing that imaginary 'below speaker' helps to 'pull the sound back
down again'
- one decoder may be preferred for a certain piece of music, another
one for the next piece
- separating material based on different orders, type of material etc.
(if prepared that way by the composer) into different kinds of
encoded layers, then running these stems through different types of
decoders (order, topologies) often enhances the perception of the
space in the music much. E.g:
- horizontal only -> using higher order/resolution
- periphonic -> as good as the material and rig allows
- lower order material, using only a subset of speakers
- if possible we try to upsample FOA material, getting it into 3rd
order most often makes a really great difference
-anders
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