Re: [Sursound] S(PACE) Symposium

[Jörn Nettingsmeier]

hi dylan!


On 01/25/2011 12:08 AM, Dylan Menzies wrote:

> Also we are looking for people interested in presenting. If this is you
> please contact me with a brief summary of what you would like to talk
> about and any questions. There are some funds to support this.

i could talk about recording contemporary music in hybrid higher order
ambisonics, and to produce pop or other "studio" music in HOA, with a
toolchain that includes stereo and 5.0 output.

being out of academia, i would require some reimbursement travel costs,
but since the linux audio conference is just two days later in dublin
(which i'm attending anyway), the extra travel costs should be moderate.
a lecturer's fee would of course also be very welcome :)

> The
> approximate default layout of the PACE rig can be found at-

i have a number of HOA 3d productions done that i could play excerpts
from, but the PACE rig seems very irregular at first sight - a typical
acousmatig rig that is very ambi-unfriendly... the 8050 look like i
could use them, if they're not too high up.


let me know if you find this topic interesting and it fits your symposium.

best,


jörn




-- 
Jörn Nettingsmeier
Lortzingstr. 11, 45128 Essen, Tel. +49 177 7937487

Meister für Veranstaltungstechnik (Bühne/Studio), Elektrofachkraft
Audio and event engineer - Ambisonic surround recordings

http://stackingdwarves.net

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[Sursound] S(PACE) Symposium

[Dylan Menzies]

An afternoon symposium on the use of use of spatial sound techniques in music 
will be taking place at De Montfort University, Leicester UK on Wednesday 4th 
May. It will feature talks from members of the Music Technology and Innovation 
Group and from outside. The idea is intersperse the talks with illustrative 
clips played on the PACE rig. I would like to encourage a balance of technical 
and aesthetic viewpoints.


Everyone is welcome to attend this free event. It will probably begin at 1pm 
and continue to 5/6 with some breaks. Afterwards there will be plenty of time 
to talk more over beer and most likely, curry.


Also we are looking for people interested in presenting. If this is you 
please contact me with a brief summary of what you would like to talk 
about and any questions. There are some funds to support this. The 
approximate default layout of the PACE rig can be found at-


www.tech.dmu.ac.uk/~dylan/PACE.pdf

The room dimensions are 17m x 17m. Curtains around the perimeter allow the 
acoustic to be modified quickly and flexibly.



Best Regards,

Dylan Menzies

S(PACE) organizer
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Re: [Sursound] Why do you need to decode ambisonic/b format signals ?

[fons]

On Mon, Jan 24, 2011 at 02:47:25AM +0100, Jörn Nettingsmeier wrote:

> it does not correspond to any particular point on the sphere, but it
> is a sample nonetheless.

Yes, a sample in the spectral domain.

> when explaining that to students, i often
> use an image analogy:
> when i want to transmit an image of a meadow, it's best to just
> paint one big green pixel first. not much, but already gives you a
> rough idea it's not going to be about polar bears.
> next, divide it into four, the upper two blue, the lower two green.
> then sixteen, and so on, and eventually we get the cow and the
> birds. point is, we will be able to make out the cow and the birds
> way earlier than if we had used very small pixels right from the
> start and displayed them left-to-right, top-to-bottom.

A nice analogy. In fact the second step (after the full greenish square)
should be: 'add a layer of paint so that the top becomes more blue and
the bottom more green, keeping the average color of the picture the
same'. And so on. Each step affects the whole picture.
 
> that is hopefully similar to the discrete sampling approach of the
> naive KH microphone curtain vs. spherical decomposition to get a
> reasonably correct idea across.

Yes. It's also how many image compression algos work :-)
 
>  you can't imagine how difficult it is to sell the concept to
> tonmeisters - the more experienced, the harder. no point in
> frightening them off right from the start ;)

I know... OTOH, Tonmeisters (who have gone through 4 or 5 years of
academic education to get the title) should have some understanding
of this...
 
> i look forward to the day when i'll be able to digest fillipo's
> papers. incidentally, i have no pressing plans for the next decade,
> so there is hope :)

Any time invested in this won't be wasted.

Ciao,

-- 
FA

There are three of them, and Alleline.

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Re: [Sursound] Why do you need to decode ambisonic/b format signals ?

[Eero Aro]

Keith Howard's article on Trifield is also in the Motherlode:
http://decoy.iki.fi/dsound/ambisonic/motherlode/source/Trifield1.pdf

Eero
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Re: [Sursound] AMB Playback

[Bill de Garis]

Thankyou Justin and Ronald, interesting gear but way out of my price range. The 
Halo anyway.
I'm currently trying to work up the courage to spend a bunch of $$ on a mid to high end 
shotgun mic.


It would be nice though to be able to listen to surround without having to burn a dvd 
rw. Getting it right by trial and error takes forever.


Bill

On 24/01/2011 10:13 a.m., Ronald C.F. Antony wrote:


On 24 Jan 2011, at 13:04, Justin Bennett wrote:

I use an RME fireface audio interface. It has a built in Matrix mixer which
allows you to route and mix any software output (or hardware input) to
any hardware output. Because you have quite fine control over the
mix levels and you can flip the phase, you can set up a simple decoder in it.
(no shelf filters though!)


The same could be done with the various interfaces from MHLabs which a few 
people here on this list are using. Probably even incl. the shelf-filters, 
provided one knows the proper coefficients, etc. since the DSP platform into 
these interfaces is rather versatile.

(On some of their equipment they are running a special now for a few days, to celebrate 
that they just won the TEC Award for that device...), but their "lower end" 
devices would do the trick, too:

http://www.mhlabs.com/metric_halo/

Ronald

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Re: [Sursound] Why do you need to decode ambisonic/b format signals ?

[Martin Leese]

Eero Aro  wrote:

> J?rn Nettingsmeier wrote:
>> in theory, you can. in practice, you can't, because you'd have to know
>> what stereo technique was used during recording
>
> Yes you can.
>
> Just one word: Trifield.

Steven Dive  wrote:
...
> I understand that Trifield is derived from the same groundwork as
> Ambisonic, which also gives us ambi superstereo. It's a matter of
> personal judgement, I think, but do you more knowledgeable theory
> folks know if Trifield is therefore as flexible in its use as
> superstereo?

>From memory, the theory behind Trifield
assumes either Blumlein XY, or pan-potted
multi-track mono.  Perhaps Geoffrey can chip
in, or somebody can look at the paper
(reference below).  Again from memory,
SuperStereo assumes some sort of coincident
mic technique so, in theory, is more flexible
than Trifield.  I don't know of a reference for
SuperStereo; this is a gap in Ambisonic
theory.

> Maybe Meridian were just suggesting indirectly that people experiment
> to find the most pleasing effect from their black box (literally)
> piece of hi-fi equipment.

In practice, this is good advice, whether
Meridian meant to suggest it or not.

Regards,
Martin

M.A. Gerzon, "Optimum Reproduction Matrices
for Multispeaker Stereo", J. Audio Engineering
Society, vol. 40 no. 7/8, pp. 571-589 (1992
July/Aug.)

This is in the Ambisonic motherlode at:
http://decoy.iki.fi/dsound/ambisonic/motherlode/data/1991_Optimal%20Reproduction%20Matrices%20for%20Multispeaker%20Stereo%20(TRIFIELD)_Gerzon.pdf

-- 
Martin J Leese
E-mail: martin.leese  stanfordalumni.org
Web: http://members.tripod.com/martin_leese/
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[Sursound] Fwd: Re: 3rd International Symposium on Ambisonics and Spherical Acoustics

[Paul Doornbusch]

--- begin forwarded text


From: Erika Olsen <eol...@engr.uky.edu>

Date: January 18, 2011 1:34:13 PM EST

Subject: 3rd International Symposium on Ambisonics and Spherical Acoustics



3rd International Symposium on Ambisonics and Spherical Acoustics
June 2-3, 2011
Lexington, Kentucky, USA
www.vis.uky.edu/ambisonics2011

Dear Colleagues,

We would like to announce the 3rd International Symposium on 
Ambisonics and Spherical Acoustics, which will be organized by the 
Center for Visualization and Virtual Environments at the University 
of Kentucky. The Symposium will be held to provide an intensive 
exchange between industrial and academic researchers working in 
various research areas on spherical acoustics.


The field of spatial sound reproduction is interdisciplinary by 
nature and closely related to a number of computer science and 
engineering areas such as acoustics, mathematics, signal processing, 
and perception. The symposium focuses on discussing the various 
problems and solutions concerning the capture, analysis, and 
re-synthesis of sound fields applying spherical acoustics; for 
example higher-order Ambisonics (HOA), and spherical microphone 
arrays.


The symposium is going to be divided into oral presentations 
(keynotes and submissions), poster sessions, and will also feature 
demos and artistic performances. This symposium will benefit from a 
hemi-spherical loudspeaker array that will be installed in the 
Digital Amphitheater of the newly inaugurated Davis Marksbury 
Building.


Original contributions are encouraged in, but not limited to, the 
following topics:


* General considerations on spherical acoustics theory
* Ambisonic for sound scene reproduction and virtual acoustic environments
* Spherical microphone array systems and signal processing
* Capture and analysis of radiation patterns
* Spherical acoustic holography
* Synthesis of directional and focused sound sources
* Spherical loudspeaker array systems and signal processing
* Theoretical considerations on comparative subjective and objective studies
* Standardization, exchange, implementation and hardware issues


Submission
==

Submissions will be judged based on extended abstracts (1000 words). 
Procedures to submit papers, posters, and demo sessions are detailed 
at the symposium website 
http://www.vis.uky.edu/ambisonics2011/. 
Final papers must be camera-ready conforming to the format specified 
on the submission website.


Important dates
===

* Extended abstract (1000 words) submission due: February 15th, 2011
* Papers, Notification of acceptance: February 21, 2011
* Camera-ready copy (full paper): April 30, 2011
* Registration opens: April 30, 2011
* Submission of Audio Material for Testing: May 13, 2011
* Symposium Dates: June 2-3, 2011

If you have any questions, please contact 
off...@ambisonics-symposium.org



Symposium Chairs


General Co-Chairs
 Jens Hannemann (VisCenter)
 Kevin Donohue (VisCenter)

Administrative Chair
 Erika Olsen (VisCenter)



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Re: [Sursound] Why do you need to decode ambisonic/b format signals ?

[Svein Berge]

2011/1/24 Daniel Courville 

> Le 11-01-24 10:23, Andrew Levine a écrit :
>
> >I imagine it would require quite a complex piece of software that could
> >differentiate sound sources by grouping their spectral components,
> >reconstruct the original positions and then recreate a LCR-soundstage.
>
> Hum... Probably Svein Berge's HARPEX processing would be able to do that.
>
> <http://harpex.net/>
>
> Check out this <http://harpex.net/convert.html>.
>
> And the paper that was presented in Paris <http://harpex.net/harpex.pdf>.
>
>
>
Hey, thanks for the mention! Actually, harpex (and variants of it) can
handle just about any coincident microphone configuration as its input (the
publication only mentions b-format, but there are other variants for xy,
blumlein, ms etc). On the output, it can emulate spaced configurations like
ortf or ab. However... spaced microphone configurations on the input (which
was the context of this discussion) is more difficult. I've put some work
into it, but haven't got anything to show for it yet.

Svein
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Re: [Sursound] AMB Playback

[Ronald C.F. Antony]

On 24 Jan 2011, at 13:04, Justin Bennett wrote:
> I use an RME fireface audio interface. It has a built in Matrix mixer which
> allows you to route and mix any software output (or hardware input) to
> any hardware output. Because you have quite fine control over the
> mix levels and you can flip the phase, you can set up a simple decoder in it.
> (no shelf filters though!)

The same could be done with the various interfaces from MHLabs which a few 
people here on this list are using. Probably even incl. the shelf-filters, 
provided one knows the proper coefficients, etc. since the DSP platform into 
these interfaces is rather versatile.

(On some of their equipment they are running a special now for a few days, to 
celebrate that they just won the TEC Award for that device...), but their 
"lower end" devices would do the trick, too:

http://www.mhlabs.com/metric_halo/

Ronald



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Re: [Sursound] Why do you need to decode ambisonic/b format signals ?

[Andrew Levine]

Hi Daniel,

On 24.01.2011, at 18:55, Daniel Courville wrote:
> Le 11-01-24 10:23, Andrew Levine a écrit :
>> I imagine it would require quite a complex piece of software that could
>> differentiate sound sources by grouping their spectral components,
>> reconstruct the original positions and then recreate a LCR-soundstage.
> 
> Hum... Probably Svein Berge's HARPEX processing would be able to do that.
> 
> 
> 
> Check out this .

I don't see AB as an input format. It's all coincident configs with the 
exception of the tetrahedron and a full 5.0 mix.

> And the paper that was presented in Paris .

I'll dig into it.

Thanks!

Andrew
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Re: [Sursound] AMB Playback

[Justin Bennett]

On 24 Jan 2011, at 18:00, sursound-requ...@music.vt.edu wrote:


From: Bill de Garis 
Subject: [Sursound] AMB Playback
To: Surround Sound discussion group 
Message-ID: <4d3c6a88.2050...@dgvo.net>
Content-Type: text/plain; charset=ISO-8859-1; format=flowed

On 23/01/2011 5:25 a.m., Justin Bennett wrote:

Snip
I have a simple 4 channel ambi decoder programmed into the
built- in mixer of my computer's sound card. I just choose the  
preset, play

the 4 channel B-format file and it decodes it for me.


Would you mind giving out the details of this, or is it proprietary?
Thanks,
Bill


sure...

I use an RME fireface audio interface. It has a built in Matrix mixer  
which

allows you to route and mix any software output (or hardware input) to
any hardware output. Because you have quite fine control over the
mix levels and you can flip the phase, you can set up a simple  
decoder in it.
(no shelf filters though!) I often use it as a rough-and-ready ambi  
monitoring
setup so that I don't have to do it inside, for instance Logic or  
ProTools.
Also, it happens in the interface and doesn't use any computer CPU.  
and my

laptop is very old, so that's very useful!

http://www.rme-audio.de/en_products_fireface_400.php

the fireface sounds great.

best, Justin


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Re: [Sursound] Why do you need to decode ambisonic/b format signals ?

[Daniel Courville]

Le 11-01-24 10:23, Andrew Levine a écrit :

>I imagine it would require quite a complex piece of software that could
>differentiate sound sources by grouping their spectral components,
>reconstruct the original positions and then recreate a LCR-soundstage.

Hum... Probably Svein Berge's HARPEX processing would be able to do that.



Check out this .

And the paper that was presented in Paris .

- Daniel


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Re: [Sursound] Why do you need to decode ambisonic/b format signals ?

[Ronald C.F. Antony]

On 24 Jan 2011, at 08:36, Eero Aro wrote:

> I agree that UHJ can be useful for certain single productions, but when
> somebody is here on the list asking about Ambisonic decoding, in my
> opinion you should give realistic answers.

The realistic answer is that stereo, with over-compressed dynamics, 
loss-compression MP3/4, or CD, Vinyl and FM radio are going to remain the 
distribution channels for the foreseeable future.

This means you can either shrug your shoulders and say "screw surround sound, 
nobody is listening anyway" or you can deliver UHJ for the few people who care 
and the rest of the public is non the wiser, but won't care because it still 
sounds like a regular, good stereo production.

That's realism, and it means, if you care about surround and your faced with 
todays deliverables, then you deliver UHJ and make little fuss about it before 
some production manager gets the idea to tell you to use "regular stereo 
because nobody knows what UHJ is" (including that production manager himself).

UHJ is guerilla surround for the few who care and get the 5-point font small 
print hint buried in the CD-production notes.

That is realism. Anything else applicable for only a few high-profile projects 
(like "Metallica now in 3D sound on BD or DVD-Video") or for some one-off 
performances and productions driven by academics.

So take your pick: forget about surround sound, or be a guerilla and deliver 
UHJ-Stereo.

I would say that makes UHJ HIGHLY relevant.

Ronald
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Re: [Sursound] Why do you need to decode ambisonic/b format signals ?

[Jörn Nettingsmeier]

On 01/24/2011 02:36 PM, Eero Aro wrote:

(Ordinary) people use the AV amplifier which they already have in their
livingroom. The amplifier has Dolby Digital and DTS. People are not going
to buy an Ambisonic decoder.

The late Mark Decker at the BBC didn't raise a citizen movement either,
and he really did _a lot_ of programmes in UHJ.


well, uhj is certainly a dead end if (and only if) you have hopes that 
your consumers will actually re-decode it to horizontal surround.

i don't delude myself as to the probability of this happening.

what i said was: it is absolutely possible to do very high quality 
productions in higher order ambisonics today, and with a bit of care in 
the mixing, you will basically get a very nice stereo folddown for free. 
that's where uhj is useful, and that's why i use it.



best,

jörn



--
Jörn Nettingsmeier
Lortzingstr. 11, 45128 Essen, Tel. +49 177 7937487

Meister für Veranstaltungstechnik (Bühne/Studio), Elektrofachkraft
Audio and event engineer - Ambisonic surround recordings

http://stackingdwarves.net

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Re: [Sursound] Why do you need to decode ambisonic/b format signals ?

[Andrew Levine]

Hi Steven,

On 24.01.2011, at 15:31, Steven Dive wrote:
> I almost never see any info on recording techniques on record labels and I 
> can't foresee any record labels ever stating which microphone techniques were 
> used.

DMP Digital Music Products used to do so when they ere in existance, Sheffield 
lab and Telarc still provide information (and my small label does so often as 
well :-)

Nevertheless I believe Jörn is correct when stating that you can't generate a C 
from a purely AB-stereophonic recording.

If done correctly, that is with sufficiently omnidirectional capsules arranged 
in parallel at the correct distance (that is between 35 and 70 cm) the only 
difference between "embedded" signals is their time of arrival / relative phase 
relationship, and I imagine it would require quite a complex piece of software 
that could differentiate sound sources by grouping their spectral components, 
reconstruct the original positions and then recreate a LCR-soundstage.

Cheers,

Andrew
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Re: [Sursound] 3D audio event in Italy

[Luigi Agostini]

Hi Fons,


I would come to your demo tomorrow if it wasn't so patently (there's
that word again) clear that it is a marketing exercise rather than a
scientific or technical gathering. The absence of any other systems -
e.g. a well-engineered AMB setup - to compare with makes this rather
clear.


The event has been a quiet and relaxing occasion to listen to some 3D  
soundscape
composition, and an occasion to speak about ecological and artistic  
matters...
Sorry to say that, but probably you equivocate the situation and the  
reason why
we used 3D-EST to spatialize some soundscape when they wasn't in  
stereo or 8.0,

as requested by the composers...

Please see the precedent answer to Sampo, ciao

Luigi Agostini

Amministratore unico
A&G Soluzioni Digitali
www.aegweb.it



Luigi Agostini
Amm.re Unico
A&G Soluzioni Digitali

http://www.aegweb.it

http://www.linkedin.com/in/luigiagostini
http://www.lulu.com/luigiagostini
http://yoursoundscape.ning.com
http://myspace.com/luigiagostini
http://myspace.com/luigi_agostini
http://luigiagostini.myblog.it/
http://luigiagostini.blogspot.com/
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Re: [Sursound] 3D audio event in Italy (Sampo Syreeni)

[Luigi Agostini]

Hi Sampo,


But then, *please* don't pretend that is how the game should be.
*Please* don't use your intellectual property offensively. I mean,  
I for
one am a rather economically well-versed pirate, so that I couldn't  
much

take this sort of IP rhetoric, if it escalated.


I do not pretend nothing. I am just trying to do my job honestly in a  
market full of sharks :-)
I hate polemics. I have posted the news about FKL event just in case  
it could be of any interest
for the Sursound members. Some of you asked for more technical info,  
I was busy organizing

the event, to post the link was a quick solution to answer promptly.
I did not send it certainly in order to use anything offensively...
I have a lot of defects but for sure I am not competitive or  
belligerent, believe me, I really do not care
too much about other technologies rather than mine, I am focused on  
provide some good and reliable

tools for 3D soundscape composition and playback, stop. My position is:
- If you are able to achieve a good result using other ways, OK, use  
what you prefer and I am happy for you! -
It is silly, in my opinion, to consider a technology better than  
another, it is the persons that use it that make the difference.
About Angelo I was only telling about one of the rare occasion when a  
really competent person has
had the possibility to evaluate our products. I did not mention his  
ideas about patents,

I really do not know what he thinks about this matter...


Could you perchance divulge a whole set of links to your system's
specifications, research papers, extant software and example  
recordings?


I will be happy to send you them privately, I am afraid someone could  
accuse me to do spam on sursound :-)


Peace and Love,

Luigi Agostini

Amministratore unico
A&G Soluzioni Digitali
www.aegweb.it



Luigi Agostini
Amm.re Unico
A&G Soluzioni Digitali

http://www.aegweb.it

http://www.linkedin.com/in/luigiagostini
http://www.lulu.com/luigiagostini
http://yoursoundscape.ning.com
http://myspace.com/luigiagostini
http://myspace.com/luigi_agostini
http://luigiagostini.myblog.it/
http://luigiagostini.blogspot.com/
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Re: [Sursound] Why do you need to decode ambisonic/b format signals ?

[Steven Dive]

From my perspective as a home user of a commercial home surround  
decoder (Ambisonic UHJ, Trifield, Dolby etc.), I almost never see any  
info on recording techniques on record labels and I can't foresee any  
record labels ever stating which microphone techniques were used.


The manual for my Meridian 565 decoder says "The Trifield processing  
in 565 extracts the M-S (Mono and Surround) component of the original  
recording.". The manual also says it's for reproduction from  
recordings made "where the recording has used a small number of  
microphones." So it's very much guesswork and experimentation time for  
us home surrounders. How few is 'few' and how configured I wonder?  
Should Trifield be best used for MS recordings only?


I understand that Trifield is derived from the same groundwork as  
Ambisonic, which also gives us ambi superstereo. It's a matter of  
personal judgement, I think, but do you more knowledgeable theory  
folks know if Trifield is therefore as flexible in its use as  
superstereo?


Maybe Meridian were just suggesting indirectly that people experiment  
to find the most pleasing effect from their black box (literally)  
piece of hi-fi equipment.


Steve

On 24 Jan 2011, at 13:09, Eero Aro wrote:


Jörn Nettingsmeier wrote:
in theory, you can. in practice, you can't, because you'd have to  
know

what stereo technique was used during recording


Yes you can.

Just one word: Trifield.


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Re: [Sursound] Why do you need to decode ambisonic/b format signals ?

[Eero Aro]

Phew! We have had this discussion before. Should dig the threads from
Sursound archives. Never mind, here we go:

Jörn Nettingsmeier wrote:


i beg to differ. it is still very useful.
> i have done all my client's productions in HOA, even if they weren't 
interested

> in any other target format than stereo.

I did the same in the beginning of the nineties. You can read what the 
results

were in here:
http://members.cox.net/surround/uhjdisc/uhjhtm.htm#Radio

In our small country the listening numbers for a radio play were about
60.000 - 80.000 per transmission.

79.980 of the listeners were listening to the UHJ radio play with two 
speakers

in stereo. 20 of them were listening to it decoded into surround listening.
These 20 people were my friends and I needed to make them a phonecall
to remind them to put the decoding on. As well I could have sent all of them
a cassette copy!

The 79.980 were not eager to buy an Ambisonic decoder to be able to
hear what was buried in the encoding. They were happy with the stereo.
And - at that time there _were_ Ambisonic decoders available. Not in the 
high

street shop, but it was possible to get one.

(Ordinary) people use the AV amplifier which they already have in their
livingroom. The amplifier has Dolby Digital and DTS. People are not going
to buy an Ambisonic decoder.

The late Mark Decker at the BBC didn't raise a citizen movement either,
and he really did _a lot_ of programmes in UHJ.

I agree that UHJ can be useful for certain single productions, but when
somebody is here on the list asking about Ambisonic decoding, in my
opinion you should give realistic answers.


it's a really nice stepping stone for ambisonics, and surprisingly
little pain to work with once you've gotten used to its quirks.


You tell me.

I wish luck in your efforts.

Eero
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Re: [Sursound] Why do you need to decode ambisonic/b format signals ?

[Eero Aro]

Jörn Nettingsmeier wrote:

in theory, you can. in practice, you can't, because you'd have to know
what stereo technique was used during recording


Yes you can.

Just one word: Trifield.

Eero
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Re: [Sursound] Why do you need to decode ambisonic/b format signals ?

[Jörn Nettingsmeier]

On 01/24/2011 05:57 AM, Robert Greene wrote:


Actually, I think the remarks below represent a bit of
a misconception about stereo
playback. In actuality, if one used more speakers
one could make stereo playback better in the sense
that one could widen the spot in which it sounded
reasonably correct.


in theory, you can. in practice, you can't, because you'd have to know 
what stereo technique was used during recording, and have to do totally 
different things to derive your extra speaker feeds. as usual, when the 
signal is co-incident, i.e. blumlein, xy or pan-potted mono, getting a 
center feed is easy, just mix 'em.

trying that on AB recordings is a recipe for disaster.

--
Jörn Nettingsmeier
Lortzingstr. 11, 45128 Essen, Tel. +49 177 7937487

Meister für Veranstaltungstechnik (Bühne/Studio), Elektrofachkraft
Audio and event engineer - Ambisonic surround recordings

http://stackingdwarves.net

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Re: [Sursound] Why do you need to decode ambisonic/b format signals ?

[Paul Hodges]

--On 23 January 2011 16:48 +0200 Eero Aro  wrote:


In my opinion, you can skip the on-going discussion about UHJ,


I tend to agree, when considered as a carrier for (2D) surround - there are 
simply no facilities out there to make use of it - even computer decoding 
requires nerdy setup at present.


However, it is also a useful way to fold a circular sound source into a 
stereo image, and as such got me my one commercially paid recording job 
(I'm just a hobbyist, remember), when a "conventional" approach with 
microphones all round had been deemed to hard to make satisfactory.


Paul Hodges


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