Re: [Sursound] leftover xmas ornaments?

[umashankar manthravadi]

Dear Fernando

Some months ago I had figured out how to use my very low cost 3 d printer for 
printing (in two parts) the tetrahedral holder for 14 mm capsules. It is about 
the smallest structure you can make for TSB 140s. I had posted pictures and an 
STL file on micbuilders but there had been no interest. Will you take a look, 
or would you like me to send them to you ?

umashankar

Sent from Mail for Windows 10

From: Fernando Lopez-Lezcano
Sent: Thursday, September 15, 2016 1:25 AM
To: Surround Sound discussion group
Subject: [Sursound] leftover xmas ornaments?

Hi all,

I've been working on this project since November 2015, and at the time I
thought I would be done by Christmas, hence the subject line... (I was
very naive). The main motivation of the project was to have easy to
build and cheap microphone arrays for my students to use in class (@
CCRMA, Stanford)...

So, you can choose what you can use this for: Ambisonics themed Xmas
tree ornaments, 3d puzzles of platonic solids, big earrings for your
loved ones or, perhaps, microphone arrays.

I've been working on designs that are 3D printable as flat pieces on
cheap or medium priced printers and are assembled and glued together
like 3d puzzles, starting with a regular tetrahedral first order
microphone and then moving on to Eric Benjamin and Aaron Heller's
Octathingy (8 capsules) and a few more "platonic solid" designs (12 and
20 capsules, these last just to test the concept of even bigger 3d
puzzles - it works).

All models are written in Openscad (a 3d modeling programming language),
with most of the dimensions being parametric - the models are, after
all, just software. I spent a couple of weeks doing plain old geometry
on paper to try to get everything to fit just right...

I wrote a paper on the progress of the project so far for AES SFC (which
I regretfully was unable to attend), you can find it for now in my web
page - jump to the publications link[*]. I have a first working
prototype (calibration and measurements in the paper), I'm currently
working on two more and looking forward to testing the 8 capsule design.

A lot of work ahead (coding and hardware design, documentation, etc).
This turned out of be a black hole for any time I can throw at it.
Contributions welcome...

GPL Openscad code and Creative Commons licensed 3D models are available
here:

https://cm-gitlab.stanford.edu/ambisonics/SpHEAR/

(there is also a low volume mailing list available, so far 0 messages :-)

You can also find a Kicad PCB design for the phantom power interface for
each capsule (they fit into the body of the latest design) and the
preliminary calibration software (GPL, written in Octave) for the
tetrahedral design. But of course everything needs better documentation.
Take a look, I included a few more pictures...

If you are tempted to build one be forewarned that it is a LOT of work :-)

Many in this list helped a lot (you know who you are, thanks!!), I would
not have gotten this far by walking alone.

Enjoy!
-- Fernando

[*] https://ccrma.stanford.edu/~nando/

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Re: [Sursound] Sennheiser Ambeo

[David Pickett]

At 18:16 15-09-16, Luke Smiles wrote:
>
>It appears the Sennheiser Ambeo will be on sale from November with a
>street price of EU €1,500 plus tax or US $11,650 plus tax for the mic,
>software, cable and fixing tools.
>
>luke_
>

Is that a typo, or is it really ten times more expensive in the USA?

David

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Re: [Sursound] Sennheiser Ambeo

[Luke Smiles]

It appears the Sennheiser Ambeo will be on sale from November with a street 
price of EU €1,500 plus tax or US $1,650 plus tax for the mic, software, cable 
and fixing tools.

luke_

--
Luke Smiles
motion laboratories
GPO BOX 1417
Melbourne VIC 3001
Australia

> Message: 2
> Date: Thu, 15 Sep 2016 08:17:11 +0100
> From: Dave Malham 
> To: Surround Sound discussion group 
> Subject: [Sursound] Sennheiser Ambeo
> Message-ID:
>   
> Content-Type: text/plain; charset="utf-8"
> 
> Looks like this is going to be pushed at the AES LA show in a couple of
> weeks - they have a nice picture of it in an advert in the newsletter
> that's come out about the show. So, that means (at least) four commercial
> sources of soundfield type mics now - only 41 years after I saw my very
> first one at the London AES in 1975.
> 
> Dave

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Re: [Sursound] Sennheiser Ambeo + compare sound quality.

[David Pickett]

Thanks: I will investigate.  I have had to make do with my ears up to now!

David

At 10:26 15-09-16, Bo-Erik Sandholm wrote:
>If you want to see in the form of graphs why the LP sounds better, you can
>try this software recording analyser.
>
>http://www.lts.a.se/lts/masvis
>
>It shows you in graphs how the recording engineer and mostly the mastering
>engineers have done their job.
>It's interesting to compare different releases of famous and well known
>recordings, and what's happened over time.
>
>Bo-Erik
>
>On 15 Sep 2016 10:13, "David Pickett"  wrote:
>
>What we are seeing is that large companies, who in the past would not have
>paid royalties to make a Soundfield type of microphone, which might have
>supported development of Ambisonics, are now jumping on the band-waggon of
>VR because they hope that there may be big money in it.  I suppose also
>that the people in those companies who had a "not invented here and
>therefore a waste of time" attitude have now retired and corporate memory
>has forgotten the 1970s.
>
>One does not need to be a conspiracy theorist to see that "big audio
>business" ensured that Ambisonics went to the wall, and is now trying to
>make money out of it.  With hindsight, one can see that it was the same
>with the analog/digital transition.  In 1982, aided by poor quality control
>of LP manufacturing, the CD was supposed to provide "perfect sound
>forever"; and nowadays companies are trying to sell punters yet another
>incarnation of "Kind of Blue" and other classics in both hi-res AND
>expensive vinyl formats.
>
>It has been a salutary experience for me in the past year to buy
>musty-smelling LPs, manufactured in the 1960s, from second hand record
>stores at knock down prices of around 2 pounds (or 3 EUR) and to discover
>that they play on my old Thorens TD124 WITHOUT pops, clicks and crackles,
>and with a sound quality that is as good as, and in some cases, audibly
>better than the CD or Bluray-Audio reissues of the same recordings.
>
>David
>
>
>At 09:17 15-09-16, Dave Malham wrote:
>>Looks like this is going to be pushed at the AES LA show in a couple of
>>weeks - they have a nice picture of it in an advert in the newsletter
>>that's come out about the show. So, that means (at least) four commercial
>>sources of soundfield type mics now - only 41 years after I saw my very
>>first one at the London AES in 1975.
>>
>> Dave
>>
>>
>>--
>>
>>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'
>>-- next part --
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>>>15/739f611f/attachment.html>
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>>here, edit account or options, view archives and so on.
>
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Re: [Sursound] Sennheiser Ambeo + compare sound quality.

[Bo-Erik Sandholm]

If you want to see in the form of graphs why the LP sounds better, you can
try this software recording analyser.

http://www.lts.a.se/lts/masvis

It shows you in graphs how the recording engineer and mostly the mastering
engineers have done their job.
It's interesting to compare different releases of famous and well known
recordings, and what's happened over time.

Bo-Erik

On 15 Sep 2016 10:13, "David Pickett"  wrote:

What we are seeing is that large companies, who in the past would not have
paid royalties to make a Soundfield type of microphone, which might have
supported development of Ambisonics, are now jumping on the band-waggon of
VR because they hope that there may be big money in it.  I suppose also
that the people in those companies who had a "not invented here and
therefore a waste of time" attitude have now retired and corporate memory
has forgotten the 1970s.

One does not need to be a conspiracy theorist to see that "big audio
business" ensured that Ambisonics went to the wall, and is now trying to
make money out of it.  With hindsight, one can see that it was the same
with the analog/digital transition.  In 1982, aided by poor quality control
of LP manufacturing, the CD was supposed to provide "perfect sound
forever"; and nowadays companies are trying to sell punters yet another
incarnation of "Kind of Blue" and other classics in both hi-res AND
expensive vinyl formats.

It has been a salutary experience for me in the past year to buy
musty-smelling LPs, manufactured in the 1960s, from second hand record
stores at knock down prices of around 2 pounds (or 3 EUR) and to discover
that they play on my old Thorens TD124 WITHOUT pops, clicks and crackles,
and with a sound quality that is as good as, and in some cases, audibly
better than the CD or Bluray-Audio reissues of the same recordings.

David


At 09:17 15-09-16, Dave Malham wrote:
>Looks like this is going to be pushed at the AES LA show in a couple of
>weeks - they have a nice picture of it in an advert in the newsletter
>that's come out about the show. So, that means (at least) four commercial
>sources of soundfield type mics now - only 41 years after I saw my very
>first one at the London AES in 1975.
>
> Dave
>
>
>--
>
>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'
>-- next part --
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Re: [Sursound] Sennheiser Ambeo

[David Pickett]

What we are seeing is that large companies, who in the past would not 
have paid royalties to make a Soundfield type of microphone, which 
might have supported development of Ambisonics, are now jumping on 
the band-waggon of VR because they hope that there may be big money 
in it.  I suppose also that the people in those companies who had a 
"not invented here and therefore a waste of time" attitude have now 
retired and corporate memory has forgotten the 1970s.


One does not need to be a conspiracy theorist to see that "big audio 
business" ensured that Ambisonics went to the wall, and is now trying 
to make money out of it.  With hindsight, one can see that it was the 
same with the analog/digital transition.  In 1982, aided by poor 
quality control of LP manufacturing, the CD was supposed to provide 
"perfect sound forever"; and nowadays companies are trying to sell 
punters yet another incarnation of "Kind of Blue" and other classics 
in both hi-res AND expensive vinyl formats.


It has been a salutary experience for me in the past year to buy 
musty-smelling LPs, manufactured in the 1960s, from second hand 
record stores at knock down prices of around 2 pounds (or 3 EUR) and 
to discover that they play on my old Thorens TD124 WITHOUT pops, 
clicks and crackles, and with a sound quality that is as good as, and 
in some cases, audibly better than the CD or Bluray-Audio reissues of 
the same recordings.


David

At 09:17 15-09-16, Dave Malham wrote:
>Looks like this is going to be pushed at the AES LA show in a couple of
>weeks - they have a nice picture of it in an advert in the newsletter
>that's come out about the show. So, that means (at least) four commercial
>sources of soundfield type mics now - only 41 years after I saw my very
>first one at the London AES in 1975.
>
> Dave
>
>
>--
>
>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'
>-- next part --
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>15/739f611f/attachment.html>
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>here, edit account or options, view archives and so on.

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[Sursound] Sennheiser Ambeo

[Dave Malham]

Looks like this is going to be pushed at the AES LA show in a couple of
weeks - they have a nice picture of it in an advert in the newsletter
that's come out about the show. So, that means (at least) four commercial
sources of soundfield type mics now - only 41 years after I saw my very
first one at the London AES in 1975.

 Dave


-- 

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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