[Sursound] Leyfðu Ljósinu by Hildur Guðnadóttir UHJ-encoded?

[Martin Leese]

Hi,

There is a CD on eBay which is not in the UHJ Discography.  However,
the details state:

Leyfðu Ljósinu (Icelandic for "Allow the light"), was recorded live at
the Music Research Centre, University of York, in January [2012?] by
Tony Myatt, using a SoundField ST450 Ambisonic microphone and two
Neumann U87 microphones.
As to be faithful to time and space - elements vital to the movement
of sound - this album was recorded entirely live, with no
post-tampering of the recording's sense of occasion.

℗ & © 2012 Touch
Published by Touch Music [MCPS]

Anybody know if this CD is UHJ-encoded?

Many thanks,
Martin
-- 
Martin J Leese
E-mail: martin.leese  stanfordalumni.org
Web: http://members.tripod.com/martin_leese/
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[Sursound] PSI a14

[Dan Yotz]

>>> : 
> A few years back I searched for new monitors - found PSI audio - and now
> I?m an ambassador of the brand. But no salesspeech - I bought the A17 - m
> for studio use but they also have the A14 - m for smaller needs.
> The A17 - m is the best, most neutral monitor I ever had (used to ADAM -
> all kinds from A5 to s3A, and genelec (the smaller ones), Tannoy (in
> exhibition - the new ones...), JBl (the old ones..), B&W, Yamaha,
> Digidesign RM2


I'll agree!  Have a pair of the PSI a14 and the phase coherency is phenomenal.  
Incredible soundstage, and clients typically think we are listening to the 
larger speakers they are set upon.  Though I doubt I would've mentioned them in 
a conversation which included Dayton and Labtec...  I haven't yet been able to 
afford 3 more, let alone a dozen or more!

-dan yotz
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[Sursound] 26 Positions

[Michael Chapman]

1) With thanks to Albert Leusink for his encouragement there are now
second and third order versions of "26 Positions" at
.

If anyone can check these on a rig, I would be grateful for comments.

There is also a bad French language version (no comments about Logitech
microphones ...).
(Uploading of o2 and o3 currently blocked by a server attack ;-((>>>

2) Thanks too to Aaron Heller for making the audiovisual version.
I hope to view it soon.
For the adventurous there is also "(?)60 positions" the four dimensional
version: A chance for some nice graphics, if YouTube will offer support  .
 .  .

Michael

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Re: [Sursound] Envelopment

[Stefan Schreiber]

Peter Lennox wrote:


Hi Ralph! - long time since I saw you on this site - nice to hear from you.

Just a suggestion: it seems to me that what you are doing is affecting inter 
aural cross-correlation (IACC) - and, as this is known to affect the perception 
of 'spaciousness' - and spaciousness is related to 'envelopment'.
I wonder: have you come across the paper "Fixing the Phantom Center" by Earl 
Vickers? - he describes a method of using all-pass filters to control  IACC, that can 
make imagery slightly less 'pinpoint-y' (and what exactly is a point source anyhow?) but 
more stable for off-centre listeners. Although this is a technique used for stereo, I've 
a hunch it actually does something related to what you're doing.

Effectively, I think you are decorrelating the rear stereo feeds, and thus 
preventing image-perception to the rear, and bringing out the ambience 
information.


I would have assumed the same.

However, it is hard to see where any decorrelation is supposed to take 
place!


For some time now, I have been using Ambiophonics and the RACE program to generate a sense of envelopment by using two speakers behind the listening position at an angle of about 20 degrees and only two meters or so away from the main listening family size area..  This rear speaker pair is fed a duplicate of the front pair and is just crosstalk cancelled using somewhat different parameters than used for the front 2.0 pair.  Neither the level nor the delay of the rear pair 
is critical within reason which is a rather remarkable result.



(cited from Ralph G.'s posting)

X-talk cancellation (per se) doesn't seem to take out any directional 
information.


There must be s.th. more interesting here...

Is it that you bring out reverb but also some side/rear-side/rear 
reflections, which have been "mixed" into the front 2.0 pair?


Maybe not in some < correct > way - but it is also not exactly correct 
to present these parts from the front. So you could speak of some 
improvement(s)?


Another problem for this (admittedly crude) speculation is hat stereo 
recordings can be done in such different ways...


So my interpretation could be quite wrong, as well.

I just wanted to say that Ralph's described effect and observations 
can't be related to (meaningful or complete) decorrelation. And I don't 
see where IACC figures are supposed to change a lot.



Best regards

Stefan




I've accidentally done this with some crosstalk filters (set up wrongly) - the 
centre imagery was depressed but there was an enormous and compelling increase 
in the perception of depth of field (perhaps related to Neher, Brooks and 
Rumsey's ensemble depth). Now, you say you're using slightly different settings 
for your rear cross-talk pair - I wonder if you're doing something similar?

cheers

Dr. Peter Lennox
Senior Fellow of the Higher Education Academy
Senior Lecturer in Perception
College of Arts
University of Derby

 


---



From: Sursound  on behalf of Ralph Glasgal 

Sent: 25 April 2016 22:58:10
To: Surround Sound discussion group
Subject: [Sursound] Envelopment

The last paragraph is the meat, if this is too long.  I have belatedly gotten around to reading the 
AES paper by Sunish George, Francis Rumsey et al entitled "Development and Validation of an 
Unintrusive Model for Predicting the Sensation of Envelopment Arising from Surround Sound 
Recordings"  Dec 2010.  This paper defines what envelopment sounds like quite well,  But to 
paraphrase the US Supreme Court on pornography, I know envelopment when I hear it. For me it is a 
sense of "You Are There" concert hall realism.  For some time now, I have been using 
Ambiophonics and the RACE program to generate a sense of envelopment by using two speakers behind 
the listening position at an angle of about 20 degrees and only two meters or so away from the main 
listening family size area..  This rear speaker pair is fed a duplicate of the front pair and is 
just crosstalk cancelled using somewhat different parameters than used for the front 2.0 pair.  
Neither the level nor the delay of the rear pair
 

is critical within reason which is a rather remarkable result.
I have had hundreds of listeners here and elsewhere in the world confirm the 
effect.  I call it Envelophonics and there is a tutorial on the details on the 
Ambiophonics website.  I wish I had the resources to get a 50 man listening 
panel and produce an AES paper but perhaps NYU will produce a thesis on 
Envelophonics like the one Roginska et al did on frontal Ambiophonics.  (Link 
on the Ambiophonics.org home page)
Basically when you turn on the rear crosstalk cancelled speakers, you have an 
enhanced spatial sense of being there at the recording site.  The stage gets 
wider and it is easier to localize instruments and sense depth.  The home 
listening area also gets larger and, if way off the center line or walking 

Re: [Sursound] Small multichannel speakers setup

[søren Bendixen]

A few years back I searched for new monitors - found PSI audio - and now
I´m an ambassador of the brand. But no salesspeech - I bought the A17 - m
for studio use but they also have the A14 - m for smaller needs.
The A17 - m is the best, most neutral monitor I ever had (used to ADAM -
all kinds from A5 to s3A, and genelec (the smaller ones), Tannoy (in
exhibition - the new ones...), JBl (the old ones..), B&W, Yamaha,
Digidesign RM2

It is expensive, at least in Denmark (my country), but just excellent. Not
waterproof though..
http://www.psiaudio.com/en/

regards
Søren Bendixen

2016-05-12 21:19 GMT+02:00 Emanuele Costantini :

> Hello everyone,
>
> due to the lack of space in modern houses, I am in need to look for small
> speakers to get on with my multichannel projects, here at home and ideally
> to bring them with me in small spaces to playback my works.
> For my stereo projects I have been using Bose ComputerMonitor:
>
>
> https://www.bose.co.uk/GB/en/home-and-personal-audio/speakers/stereo/computer-musicmonitor/
>
> and I have been able to deliver final mixes matching bigger systems, or
> needing small adjustments. Ideally I would like to expand that system but I
> find annoying they use specific connectors and they work in couple, so
> connecting it from my RME ADI8 it would be a bit of a trick to do also
> because I will need an odd number of those (5 or 7 ?)
> I've been scouting on the internet and I've seen few options.
> I am intrigued by the JBL LSR305
>
>
> http://www.jblpro.com/www/products/recording-broadcast/3-series/lsr305#.VzTQ5mbtZE4
>
> being that brand the standard for cinema sound and that industry being my
> main income, I quite like to get that way, but despite being quite small
> they are still a bit big and heavy, unfortunately.
> I found the Fostex PM03.d and PM 04.d
>
>
> http://www.fostexinternational.com/docs/products/PM0.4d.shtml#content-3-tab-tab
>
> Which are smaller and lighter, but the specifics are not that great, the
> 04.d are better though.
> Adam F5:
>
> http://www.adam-audio.com/en/pro-audio/products/f5/technical-data
>
> They look like the best of the range. Obviously to deliver those
> characteristics they have to be heavy, a bit too much and not that small.
> A friend of mine has a stereo system of MAudio AV42:
>
> http://www.m-audio.com/products/view/av42#.VzSSzWbtZE4
>
> Which doesn't sound bad at all even if they are working in couple they
> have more standard connections, so I could do my own extensions.
> In that case I've been looking at the bigger brothers MAudio BX5 D2,
> slighlty bigger and heavier:
>
> http://www.m-audio.com/products/view/bx5-d2#.VzSUrWbtZE4
>
> I am wondering if anyone has an hint to suggest or other brands/model to
> consider or was surpises by the sound of smaller systems, Bose docet,
> like... ehm logitech? ;-)
> :-)
>
> Thanks a lot in advance for your suggestions.
>
> Emanuele
>
>
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Re: [Sursound] Small multichannel speakers setup

[Dave Malham]

In the "Morning Line" sculpture we used the little Meyer powered MM-4XP
speakers which are excellent (and also waterproof - good if you are
thinking of working outside). They use a single Belden 1502 cable which has
two power cores and a twisted pair - works great but is somewhat tricky to
terminate in the 5 pin EN3 connectors that Meyer use.

   Dave

On 13 May 2016 at 20:02, Eric Benjamin  wrote:

> This is all good stuff. I'd like to add some info about the system aspects.
>
> Speaker mounting. This can be nontrivial. I know of one professional
> periphonic installation where the cost of the stands was more than the
> speakers. And mounting speakers at height can be very difficult. If the
> speakers are heavy then it can be difficult and dangerous. I'm right in the
> middle of mounting several 50 lb speakers on the ceiling of my listening
> room. I couldn't find a suitable manufactured mount so I'm fabricating my
> own. My felling is plywood just to be able to support the speakers.
>
> Passive vs powered
> When I built my first system there were very few inexpensive multichannel
> power amplifiers, so powers speakers seamed like the way to go. But powered
> speakers require that you run two cables instead of just one to each
> speaker. I'm still doing that. Now there are (relatively) inexpensive
> amplifiers like the Dayton 1240 that give lots of channels. And Marc's
> suggestion of very inexpensive amplifier modules is tempting. Too bad no
> one makes something like 8 x 15 watts in a 1u package.
>
> Coaxial speakers vs conventional 2-way
> I'm including full-range in with coax. Enthusiasts of coax tout the fact
> that coax speakers are effectively point sources. My belief is that the
> primary advantage is in the off-axis responses. Two way speakers are
> designed to have flat on-axis response, but off axis there are nulls in the
> response which appear above and below the principle axis. But there are
> relatively few coaxial speakers from which to choose.
>
> That's it for now.
>
> Sent from my iPhone
>
> > On May 13, 2016, at 10:25 AM, Marc Lavallee  wrote:
> >
> > On Fri, 13 May 2016 09:44:58 -0700, mgra...@mstvp.com wrote:
> >>> From: "Emanuele Costantini":
> >>> Gallo A'Diva and ORB audio, I think they need an amplfier in order
> >>> to work, which is not an option due to lack of room space.
> >>
> >> I would bet that the spherical speakers and the requisite amplifier
> >> take up not more space than most powered speakers.
> >> If you're going cost conscious you can use the small digital amps
> >> from the likes of SMSL & Parts Express. I have one that delivers
> >> 50w/c in 1/4 of 1 RU. That is, you can fit 4 into a 1 RU space.
> >
> > I use a few identical amp modules, with 2 or more channels per amp:
> >
> http://store3.sure-electronics.com/audio/audio-amplifier-board?dir=asc&order=price
> > In a small room, with small speakers, 15 watts per channel is enough.
> > The same store have a selection of power supplies. My solution is to
> > use the power supply of a dedicated PC, where I installed all the amp
> > modules in the drive bays. The 450W power supply is completely silent,
> > as well as the rest of the PC (no fans at all, only passive cooling).
> > --
> > Marc
> > ___
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> edit account or options, view archives and so on.
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>



-- 

As of 1st October 2012, I have retired from the University.

These are my own views and may or may not be shared by the University

Dave Malham
Honorary Fellow, Department of Music
The University of York
York YO10 5DD
UK

'Ambisonics - Component Imaging for Audio'
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