Re: [Sursound] Surprise, Surprise
On 31/12/2013 01:11, Richard G Elen wrote: Well, this is one of mine... It's also, incidentally, one of the discs that Peter Carbines and I generated G-Format DTS-CDs from back in 2006, with extremely good results. Best, -_Richard E ___ Sursound mailing list Sursound@music.vt.edu https://mail.music.vt.edu/mailman/listinfo/sursound
Re: [Sursound] Surprise, Surprise
Well, this is one of mine - it's a compilation of the primary tracks (ie no underscores or short versions) from the two Chin & Cang albums with those from Surprise Package (1983, engineered by George Chkiantz) remixed Ambisonically (Another Surprise, 1984, was originally mixed in UHJ as you noted). Manufactured by Nimbus, it was the third CD ever manufactured in the UK (the first was for BBC Transcription Service) and the first ever Ambisonically-mixed CD. CD Premastering at Tape One by Bill Foster IIRC, and there may be an article by me about the mastering of it in Studio Sound I suspect, but I can't find it (if it exists, it would be about CD premastering, not Ambisonics). This was an experimental CD released jointly by KPM and Nimbus to see how the world of production library music would react to the CD medium. Clients reacted very well and as a result KPM became the first major library to move over to CD as the reference release format. The catalogue number, KN101, reflects the involvement of KPM and Nimbus. "KPM pioneered the adoption of Compact Disc in the library industry. Its first CD, Surprise Surprise, by Chin & Cang, released as a joint venture between KPM and Nimbus Records in 1984, scored several firsts: It was the first library CD manufactured in the UK, and was in fact only the third disc to be pressed at the Nimbus factory at Wyastone Leys; and it was the first CD to be mixed in 2-channel UHJ. KPM had previously released the first-ever Ambisonically-mixed album, Keith Mansfield's Contact, and went on to release several albums and CDs in the surround format, most of which remain in the catalogue." http://www.ambisonic.net/kpm.html The CD is in a box under my bed, where all my CDs are. If you need me to dig it out, let me know. Best, --R == Matthew Cang / Eddie Chin – Surprise, Surprise Label: KPM Music / Nimbus Records KN101 Format: Compact Disc Country: UK Released: 1984 01 Never Say Never 02 On The Prowl 03 Why Me? 04 Nothing Better To Do 05 Slow Motion 06 Here He Comes, There He Goes 07 Barcelona Blue 08 Sidewinder 09 What Is It, Fish? (I) 10 Foghorn Leghorn 11 Quasimodo Owes Me 12 Bone Structure 13 Thanks, But No Thanks 14 Swedo Rides Again 15 John Wayne, Actually 16 Shadowcatch 17 Clever Nanette 18 What Is It, Fish? (II) Credits Composed By – Eddie Chin, Matthew Cang Engineer – Richard Elen Producer – Colin Bilik, Richard Elen == And while we're at it: Matthew Cang / Eddie Chin – Another Surprise Label: KPM Music – KPM 1309 Format: Vinyl, LP Country: UK Released: 1984 A1 Straight Ahead 3:05 A2 Sitting Pretty (a) 3:48 A3 Sitting Pretty (b) 2:21 A4 Choices 0:54 A5 Making Tracks (a) 3:27 A6 Making Tracks (b) 2:46 A7 The Beginning (a) 0:38 A8 The Beginning (b) 0:40 A9 The Beginning (c) 0:43 A10 Power Supply (a) 2:57 A11 Power Supply (b) 2:30 B1 Out To Lunch 2:40 B2 The Heat Is On (a) 1:54 B3 The Heat Is On (b) 1:54 B4 The Heat Is On (c) 0:13 B5 The Heat Is On (d) 0:16 B6 On Your Bike (a) 2:44 B7 On Your Bike (b) 2:44 B8 Running Wild (a) 1:40 B9 Running Wild (b) 1:36 B10 Turbocharge 2:05 B11 The City Sleeps (a) 2:36 B12 The City Sleeps (b) 2:36 Credits Composed By – Eddie Chin, Matthew Cang Engineer – Richard Elen Producer – Colin Bilik, Richard Elen On 30/12/2013 23:39, Martin Leese wrote: Hi All, I am trying to track down a CD in the UHJ Discography. It listed as: o M. Cang, E. Chin - Surprise, Surprise, KPM/Nimbus, KN101. (England) Does anybody have this CD? If so, could they please confirm the details (catalogue number, title, etc) and, if possible, e-mail me a list of the tracks. I have eBay alerts to alert me to CDs and LPs in which I am interested. Over the several years they have been running, this CD has never come up for auction. I find this most strange, and it makes me wonder whether the details in the Discography are correct. I have two LPs by Matthew Chang and Eddie Chin, both issued by KPM Music: o Surprise Package, KPM 1294, 1983 (not UHJ) o Another Surprise, KPM 1309, 1984 (UHJ-encoded) With a track listing for the CD KN 101 I will be able to see if it was compiled from the LPs. Many thanks, Martin ___ Sursound mailing list Sursound@music.vt.edu https://mail.music.vt.edu/mailman/listinfo/sursound
[Sursound] Surprise, Surprise
Hi All, I am trying to track down a CD in the UHJ Discography. It listed as: o M. Cang, E. Chin - Surprise, Surprise, KPM/Nimbus, KN101. (England) Does anybody have this CD? If so, could they please confirm the details (catalogue number, title, etc) and, if possible, e-mail me a list of the tracks. I have eBay alerts to alert me to CDs and LPs in which I am interested. Over the several years they have been running, this CD has never come up for auction. I find this most strange, and it makes me wonder whether the details in the Discography are correct. I have two LPs by Matthew Chang and Eddie Chin, both issued by KPM Music: o Surprise Package, KPM 1294, 1983 (not UHJ) o Another Surprise, KPM 1309, 1984 (UHJ-encoded) With a track listing for the CD KN 101 I will be able to see if it was compiled from the LPs. Many thanks, Martin -- Martin J Leese E-mail: martin.leese stanfordalumni.org Web: http://members.tripod.com/martin_leese/ ___ Sursound mailing list Sursound@music.vt.edu https://mail.music.vt.edu/mailman/listinfo/sursound
Re: [Sursound] Motion-Tracked Binaural
On 28/12/2013 23:25, Aaron Heller wrote: Dick Duda and Ralph Algazi gave a talk and demo at a San Francisco AES meeting at Dolby Labs a few years ago. At that time, they were recording with a head-sized sphere with either 8 or 16 microphones around the equator. They imagined that 8 would be used for teleconferencing and 16 for music recording. The headphones used a Polhemus tracker to determine orientation. At low frequencies, multiple mics were processed to produce the ear signals and at high-frequencies (where spatial aliasing on the sphere becomes a consideration) they simply selected the closest microphone to the each ear location. Then generic pinna filtering was applied to improve front-back discrimination. The immediate impression is the externalization and solidity of the image. There is some more recent material here: http://www.ece.ucdavis.edu/binaural/ Despite the pedigree, it is not the sexiest ewe in the flock, although it will turn a few heads.. The _binaural_ demos there don't work at all well for my ears, so I can see why they might want to try MTB. Dick was very helpful to me, more than a decade ago. ___ Sursound mailing list Sursound@music.vt.edu https://mail.music.vt.edu/mailman/listinfo/sursound
Re: [Sursound] Motion-Tracked Binaural
Ralph Glasgal wrote: I have always advocated using four speakers even when reproducing 2.0 files. Both the front and rear Ambiodipoles are controlled by RACE and I had been advising that the pairs be equidistant from the listening area. One of my converts to Ambio, informed me that if you placed the rear pair much closer, about one fifth the distance to the fronts, that the sound was quite a bit more realistic sounding. Sure enough it worked. We call this RACE BEE for Recursive Ambiophonic Crosstalk Elimination/ Binaural Envelopment Effect. It does seem to fit the descriptions in the literature from Griesinger and Toole as to what envelopment should sound like. But this is an easy way to get it. This seems to be a novel (is there such a thing) psychoacoustic effect, likely related to the fact that in most hearing situations there are a lot of very very very early reflections forthcoming to ears with low correlation. RACE at the rear insures that the rear energy is not mono. If you turn off RACE the effect disappears. 2.0 files represented via 4 speakers (in Ambiophonics): To obtain the sound/ambience from behind, are you extracting the reverb from the stereo file, or are you adding some hall response via IR convolution? (In the 2nd case: How do you determine which IR data has to be used?) As I understand, you restore both early reflections and ambience. Therefore, you will probably use some IR data set. But how do you know which specific (hall/room) IR to apply? Thanks, Stefan ___ Sursound mailing list Sursound@music.vt.edu https://mail.music.vt.edu/mailman/listinfo/sursound
