Re: [Sursound] Ambisonic workflow with mac and Nuendo
Emanuele wrote: I would like to know from your experience how to face the post production workflow to treat those recordings. I am using Nuendo 5 and 6 (or Pro Tools if I have to) on a Mac OS 10.7 and mostly interested in getting standard stereo and planar multichannels for film purposes, to start with. TetraMic comes with two VST plugins that work with Nuendo 5. One converts A- to B-format. The other does the decode to speaker feeds. See www.VVaudio.com . Perhaps you can use the second one, after converting to B-format using the utility supplied with your Brahma? Len Moskowitz (mosko...@core-sound.com) Core Sound LLC www.core-sound.com Home of TetraMic ___ 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.
Re: [Sursound] Ambisonics rig - loudspeakers directivity
On 08.07.2014, at 00:36, Jörn Nettingsmeier wrote: > On 07/08/2014 12:20 AM, Gregorio García Karman wrote: > >> How about using loudspeakers with cardioid characteristic in the bass range? >> >> http://www.me-geithain.de/index.php/en/studio/products/active-loudspeaker/rl901k > > I've used that speaker a couple of times, and it's fantastic. I sure would > like to build a third-order periphonic rig with those, but for the tiny > little obstacle that is the (entirely justified) price tag Joachim Kiesler > puts on those. > > It's a good addition/correction to what I said before about directivity vs. > radiating area - you can of course also obtain directivity by "wasting" some > energy to the rear to actively cancel unwanted sound, and that is a bit > easier to do for very low frequencies. > > Taken to the extreme, you end up with dipole basses, as discussed by, among > others, Siegfried Linkwitz. If you have some flexibility as to speaker > positioning, they must be very nice indeed. Thanks for your reply. These are fine speakers indeed. I am actually mulling over the idea of setting up an TOA rig with eight of those in an acoustically treated room (55 m2). They could be, e.g., arranged in a ring hanging at ca. 2.5 m. height (ring diameter ca. 5 m). In this room we are currently working with a quadraphonic setup with four venerable RL900 at the ear level (ring diameter ca. 8 m). I was wondering whether it would make sense to combine the lower ring of four RL900 and the higher ring of eight RL901 with a view to with-height ambisonics. Cheers Gregorio ___ 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.
[Sursound] Post-doc research position in Spatial Audio/Binaural in France
[Apologies if you receive this more than once. Feel free to forward this to others who might be interested.] The Sound & Space research team, part of the Audio & Acoustics group at the LIMSI-CNRS, is currently offering a post-doctoral position related to its current activities in the direction of binaural audio and spatial hearing. The research activities of the Sound & Space team span the fields of Spatial Hearing, Room Acoustics, and Virtual Reality and Audio Interfaces. Research domains include perceptual studies, perception and psychoacoustics, as well as technological development and prototype applications. Current works cover binaural technology, Ambisonics, and Wave-Field Synthesis. These technologies have been applied to various domains of research including spatial cognition, eyes-free guidance, multimodal interfaces, architectural auralizations, and room acoustics. In response to several new projects concerned with binaural technology and its evaluation, we are looking for young researchers with solid experience in this field to compliment current researchers. Research Disciplines: binaural technology, psychoacoustics, virtual reality, spatial hearing, and audio signal processing. Particular interest will be given to candidates who are interested in pursuing a research career and would be interested to continue at LIMSI as a tenured researcher, although this is not a requirement for all applicants. While the LIMSI cannot guarantee a tenured researcher position, we are strongly motivated to aid and support young candidates in their applications for CNRS in the field of spatial audio. Specific details of the annual national CNRS recruitment procedure can be found at <http://www.dgdr.cnrs.fr/drhchercheurs/concoursch/default-en.htm> http://www.dgdr.cnrs.fr/drhchercheurs/concoursch/default-en.htm. The post will be a 1-year position, with a possibility of renewal. Salaries will be determined according to experience following CNRS pay scale rules. The LIMSI ( <http://www.limsi.fr/> http://www.limsi.fr/) is a CNRS laboratory (UPR 3251) associated with UPMC and Paris-Sud Universities, accommodating approximately 120 permanent personnel (researchers, professors and assistant professors, engineers, technicians) and about 60 PhD students. It undertakes multidisciplinary research in Mechanical and Chemical Engineering and in Sciences and Technologies for Information and Communication. Research fields cover a wide disciplinary spectrum from thermodynamics to cognition, encompassing fluid mechanics, energetics, acoustics and voice synthesis, spoken language and text processing, vision, virtual reality... Details of recent research activities can found in the 2012 LIMSI Activity report ( <http://www.limsi.fr/Rapports/LIMSI_Rapport2012.pdf> http://www.limsi.fr/Rapports/LIMSI_Rapport2012.pdf). Candidates should provide a letter of motivation presenting their pervious works, prospective research directions, possible starting date, and possible integration into the LIMSI research community. Applications should also include a CV, list of publications, 2 letters of reference, and contact information for 3 references. Incomplete applications will not be treated. Starting dates for the fall of 2014 or early 2015 are preferred. While proficiency in French is not a requirement, for non-French speaking candidates a willingness and enthusiasm to learn is of course a benefit. Some course funding is available. There is no nationality requirement but selected candidates will need to pass a security check for admittance to the laboratory which can take up to 2 months processing time. Complete applications, and any questions, should be addressed to Brian FG Katz, head of the Sound & Space team ( <http://perso.limsi.fr/Individu/katz/> http://perso.limsi.fr/Individu/katz/) at <mailto:brian.k...@limsi.fr> brian.k...@limsi.fr. -- Brian FG Katz, Ph.D, HDR Audio & Acoustique CNRSLIMSI - CNRS Rue John von Neumann Campus Universitaire d'Orsay Bât 508 91405 Orsay cedex France Phone. + 33 (0)1 69 85 81 55 - Fax. + 33 (0)1 69 85 80 88 <http://www.limsi.fr/> http://www.limsi.frweb_group: <http://www.limsi.fr/Scientifique/aa/> http://www.limsi.fr/Scientifique/aa/ web_theme: <http://www.limsi.fr/Scientifique/aa/thmsonesp/> http://www.limsi.fr/Scientifique/aa/thmsonesp/ Ce message et toutes les pièces jointes sont confidentiels et établis à l'intention exclusive de ses destinataires. Toute utilisation ou diffusion non autorisée est interdite. This message and any attachments are confidential and intended solely for the addressees. Any unauthorised use or dissemination is prohibited. -- next part -- An HTML attachment was scrubbed... URL: <https://mail.music.vt.edu/mailman/private/sursound/attachments/20140708/f6a1fb02/attachment.html> -- next part
Re: [Sursound] Ambisonic workflow with mac and Nuendo
The Blue Ripple TOA plugins are excellent, though we use Reaper for its flexible channel routing. We'll often create some surrounds in that DAW and then move them into ProTools for further mixing. Cheers, Adam Adam Somers Jaunt, Inc. http://jauntvr.com On Tue, Jul 8, 2014 at 4:59 AM, John Leonard wrote: > Hi Emanuele, > > There are quite a few plug-ins that will work for you, starting with the > paid-for Harpex-B, which does some very interesting things and which I have > found to be extremely useful in working with Ambisonic files. Then there is > a wealth of free stuff, almost all VST, that can be used in Nuendo. > > Here's a good place to start your search: > http://en.wikipedia.org/wiki/List_of_Ambisonic_Software > > Regards, > > John > > > On 8 Jul 2014, at 09:43, Emanuele wrote: > > > I would like to know from your experience how to face the post > production workflow to treat those recordings. > > I am using Nuendo 5 and 6 (or Pro Tools if I have to) on a Mac OS 10.7 > and mostly interested in getting standard stereo and planar multichannels > for film purposes, to start with. > > As far as I experienced there is not a happy choice of plug-ins to help > me out with that, but I sure I am missing informations here and you are > more skilled than me will be able to lead me to the right direction. > > > > Many thanks in advance. > > > > Emanuele > > ___ > > 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. > > ___ > 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. > -- next part -- An HTML attachment was scrubbed... URL: <https://mail.music.vt.edu/mailman/private/sursound/attachments/20140708/63d9d847/attachment.html> ___ 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.
Re: [Sursound] Ambisonic workflow with mac and Nuendo
Hi Emanuele, There are quite a few plug-ins that will work for you, starting with the paid-for Harpex-B, which does some very interesting things and which I have found to be extremely useful in working with Ambisonic files. Then there is a wealth of free stuff, almost all VST, that can be used in Nuendo. Here's a good place to start your search: http://en.wikipedia.org/wiki/List_of_Ambisonic_Software Regards, John On 8 Jul 2014, at 09:43, Emanuele wrote: > I would like to know from your experience how to face the post production > workflow to treat those recordings. > I am using Nuendo 5 and 6 (or Pro Tools if I have to) on a Mac OS 10.7 and > mostly interested in getting standard stereo and planar multichannels for > film purposes, to start with. > As far as I experienced there is not a happy choice of plug-ins to help me > out with that, but I sure I am missing informations here and you are more > skilled than me will be able to lead me to the right direction. > > Many thanks in advance. > > Emanuele > ___ > 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. ___ 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.
[Sursound] Ambisonic workflow with mac and Nuendo
Hello everyone, I have been lurking for a while here and is now time to get out in the wild. Through Kickstarter I founded a Brahma microphone to have access to the Ambisonic technique and to play with it to learn how to use it. My main recorder is a Sound Devices 788T (which give me the option to listen to the stereo result when recording Ambisonic). I would like to know from your experience how to face the post production workflow to treat those recordings. I am using Nuendo 5 and 6 (or Pro Tools if I have to) on a Mac OS 10.7 and mostly interested in getting standard stereo and planar multichannels for film purposes, to start with. As far as I experienced there is not a happy choice of plug-ins to help me out with that, but I sure I am missing informations here and you are more skilled than me will be able to lead me to the right direction. Many thanks in advance. Emanuele ___ 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.
