We have been using ambisonics for several years now to provide immersive
soundfields for use within the flight simulation and training environments.
Prior to this we were using gain panning that was restrictive and highly
coupled to each installation. The use of ambi allows us to port a model from
one implementation to another with little modification to the underlying sound
simulation model.
Cheers, Neil
On Apr 10, 2012, at 4:48 PM, seva wrote:
i firmly believe there are existing and evolving areas for use of immersive
audio.
movies, anyone? i'd prefer to have something other than 5, 6, 7 .1 formats
with various implementations (3 across front, 5 across front, 1 center, 2
sides, whatever) that simply gives a better immersive experience to the
audience.
games, anyone? as mentioned later in this thread, head-tracking systems
combined with immersive audio would be a rather serious elephant in the room
for the Very Large Money in gaming.
Seva D. L. Ball
Audio Engineering / Systems
Soundcurrent Mastering
AES, NARAS, ARSC, IASA, FAM
At 11:12 -0400 4/3/12, newme...@aol.com wrote:
Peter:
So, if that's right, stereo is predicated on quite a specialized musical
presentation.
Correct! This is the presentation that comes along with perspective
in Renaissance painting and the linearity of printed books, etc.
It is a product, if you will, of the Gutenberg Galaxy -- which, in turn,
started to unravel in the 19th century, yielding electric music and ending
the classical period in composition.
This is, perhaps, why the Bell Labs experiments that yielded the 3-channel
stereo (which they determined was the minimum needed to actually produce
a solid musical image, especially for an audience) was discussed in the
1934 Symposium on Auditory Perspective.
_http://www.aes.org/aeshc/docs/bell.labs/auditoryperspective.pdf_
(http://www.aes.org/aeshc/docs/bell.labs/auditoryperspective.pdf)
So, on this account, you might expect that some music that preceded the
imposition of this EYE-based conformity would exhibit more respect for the
surround, just as you would expect that some music that followed the
relaxing of this *environmental* constraint might also begin to explicitly
investigate the *spherical* nature of sound.
That is, of course, exactly what seems to have happened!
None of which, however, changes the fact that in the electric era -- the
first and only media environment which created MASS audiences -- music
continued to be largely an expression of the unconscious orientation for
perspective (i.e. linear, eye-based, frontal performances), which then
became a
very conscious part of the commercialization of performances -- in our
own living-rooms.
It would have to wait for the further shift from *electric* to *digital*
media environment for all of this -- both the linearity of Gutenberg and the
chaos of modernity -- to begin to appear as arbitrary and merely
historical accidents.
Now, we are ready for Ambisonics (but not as a mass-market phenomenon) . . .
as we all become MEDIEVAL (or, if you prefer, post-modern) once again!!
Mark Stahlman
Brooklyn NY
In a message dated 4/3/2012 10:44:35 A.M. Eastern Daylight Time,
p.len...@derby.ac.uk writes:
I've always assumed that frontal, proscenium arch -type presentations came
out of the logistics of clocking large numbers of musicians together -
generally using a visual cue in the form of a conductor (also, individual
musicians might feel a bit lonely if they can't hang out with their mates) -
and this in turn helped reify the distinction between the music makers and
the music listeners.
In other musical forms (music to have your dinner by, Telemann, lounge
music, ambient, scallywags employed to amuse the medieval court , up there
in
the minstrels gallery, modern club music, wedding party celebration music,
religious music [various cultures] etc etc) 'front' would have less, if any,
relevance.
So, if that's right, stereo is predicated on quite a specialised musical
presentation.
So, then, saying 'stereo is all you need' is a bit like saying 'you don't
need 4 wheel drive' - true, but in circumscribed circumstances.
Dr Peter Lennox
School of Technology University of Derby, UK
tel: 01332 593155
e: p.len...@derby.ac.uk
-Original Message-
From: sursound-boun...@music.vt.edu [mailto:sursound-boun...@music.vt.edu]
On Behalf Of Dave Malham
Sent: 03 April 2012 09:49
To: Surround Sound discussion group
Subject: Re: [Sursound] OT: Spatial music
Hi Robert,
Umm - I was making exactly the opposite point - invented in the
16th century makes it, as far as music is concerned, a very new
concept. On the other hand,when talking about acoustic _concert_
music, it's almost tautologous that they are frontally presented,
because the whole concept of a musical concert was invented at the
same time, probably
