Re: [Sursound] Massless speakers

[Gary Gallagher]

Archontis,
   Was you group using a dual laser set up or where you
depending on dust/debris in the air to trigger the noise?

Gary

On Mon, Mar 26, 2018, 18:39 David Pickett  wrote:

> At 09:25 26-03-18, Politis Archontis wrote:
>
>  >I also remember during a lecture in ISVR, UK, the lecturer mentioning
>  >these old plasma tweeters, saying they did not get very far cause they
>  >were ionizing the air producing hazardous levels of ozone :-D .
>
> Rubbish! A friend of mine had a pair and they worked well and nobody
> I know suffered from ozone exposure.
>
> The problems were a) they were patented, b) they were very expensive
> and c) they wouldnt work below 10kHz unless loaded by an enormous horn!
>
> David
>
> ___
> 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: 

___
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] (a little )help needed for ambisonics museum project

[Søren Bendixen]

Hello
I need some advice!

I’ve been doing music/sounddesign for museums for a while now (read: 
https://www.asoundeffect.com/museum-sound-design/ 
). My next project could be 
the one using ambisonics!…
I have never really used ambisonics but have been reading a lot lately, and 
demoing plug ins - up til now only in headphones converting stuff to binaural.
And in the next few days I´ll test some ambisonics over my speakers. I did that 
a while back and it sounded very cool.
I have a studio with 8 ch out, 8 speakers (and a sub) - but hope I can get my 
hands on 8 more channels and 8 more speakers.

I have logic Pro x, ableton live 9 (upgrading soon..) and Reaper. I do most of 
my work in Logic Pro X, and would like to stay in Logic - the exhibition opens 
in less than three months…so digging deep into another DAW is difficult.

I’m a composer and I compose music and sounddesign.I tend to use standard 
technical configurations in odd ways (parallel stereo, some sourround configs), 
Mostly it is ways of composing and arranging every sound as a part of a 
symphony. It do that in different ways - and I started out working this way 
because I was asked to do 3 compositions/sounddesign playing in the same room - 
(please read the article from asoundeffect).

Exhibition rooms are also often odd designs - and so is speaker placement.
But this time I have the possibility to work in 3 circles and this is what want 
to do:

- Inner circle: Speak in headphones + two sounddesigns: one related to the 
speak, the other layers from the sounddesign from the two other circles. I want 
this sounddesign to be 3D/Binaural.

- Middle circle: 8 speakers hanging from a rig about 4 - 5 meters up pointing 
down into the circle.(45 degrees i guess..). This sounddesign will consist of 
music, local sound related to object/themes in this part of the exhibition. 
This should be in ambisonics. some of this sounddesign will appear in 
headphones as binaural sounds. I can be two different audiofiles (managed by 
Qlab).

- Outer circle: 8 speakers placed on the walls - the room is square but we will 
try to create an illusion that it is circular by projecting movies on the 
walls. Here I want another sounddesign consisting of mainly season related 
sound (spring, summer, winter - storm, rain, wind, and just the sound of a cold 
cold morning..).
his sounddesign should be ambisonics too.
If possible I would like sounds from ex. horses (or people walking or wind 
blowing) wander from the outer circle into the middle circle and into 
headphones. and back.

The sounddesign/music from the middle circle and the outer circle will blend 
(and should blend) and when you put on headphones you will hear layers of the 
middle and outer circle designs - so you never leave what I call the overall 
sounddesign.

So how do I do that..?

First I need to know: Is it true that Ambisonics does not “aim for” a sweet 
spot - Paul Virostek says it does 
(https://www.creativefieldrecording.com/2017/03/01/explorers-of-ambisonics-introduction/#more-16883
 
)
 a lot says it doesn’t..?
It is very importing to find out about, because an exhibition crowd walks 
around so a narrow sweet spot is no go.
And my main reason for using ambisonics is that is believe it is the best 
format to create space/soundroom where you are ex. in the middle of a storm. or 
you walk around inside a composition/orchestra.I also like the idea that 
ambisonics is not depending on a fixed speaker configuration..right?

So I want to create big spaces BUT the same sounddesign needs both overall 
sound and local sound (sounds that stays in a specific position)- and wandering 
sounds -  it seems to be possible too to blend an overall ambisonic full circle 
of sound with local placed sounds in the same design…?

And what software do I need?
I guess I need software that can deal with ambisonics files and make ambisonics 
files out of mono, stereo, surround files
and software that can convert ambisonics sound into binaural sound for 
headphones.

I´m testing 
Noisemakers ambihead, and Ambipan (good stuff and working in logic too)
DearVR music (and tomorrow testing DearVR pro for ambisonics output) - (sounds 
great and the panner is very good)
And Logics own binarual output. (seems ok for binaural but misses some 
automation)
Wigware (seems ok but cannot work in logic)

I’m about to test
Waves ambisonics B360 + NX
Rondo360

Everthing will run in sync controlled by Qlab - I guess Qlab can handle 
ambisonics, right?
I found this about Qlab and ambisonics but it involves Reaper 
https://forum.cockos.com/showthread.php?t=161556 


I’m used to do the different layers of sound design in different sessions and 
combining them afterwards but this time I will try and make all three in the 
same session…in logic.

[Sursound] New_deadline_09April::DAFx 2018 Call for Papers, Aveiro, Portugal

[Aníbal Ferreira]

Dear Audio researchers,

[Apologies for any cross-postings.]


Due to numerous requests, we have decided to extend the submission 
deadline to Monday, April 9th, 2018.


We are actively building an exciting program including the following 
three confirmed tutorials:


"Building plugins and DSP with JUCE", Julian Storer (ROLI)
"Machine Learning with Applications to Audio", Shahan Nercessian 
(iZotope)

"Digital Audio Filters", Vesa Valimaki (Aalto Univ.)

as well as three very exciting keynote speakers that we intend to 
announce very shortly.
In addition, the social program is being carefully crafted to complement 
the technical program and highlight the very best that the Aveiro region 
has to offer.


We kindly invite you to send your submissions via the following link: 
https://easychair.org/conferences/?conf=dafx2018 by the revised April 
9th deadline and furthermore to spread the word to students, colleagues 
and collaborators who would enjoy the unique scientific atmosphere and 
cordial social interactions that DAFx combines.


Proceedings with the final versions of the accepted contributions will 
be made freely accessible on the DAFx2018 website after the conference 
closure. Volumes 2008 to 2017 of the DAFx proceedings are now indexed in 
Scopus and this will apply similarly to the DAFx2018 proceedings. 
Extended versions of the best DAFx2018 papers will be given special 
consideration for publication in the Journal of the Audio Engineering 
Society.


A revised PDF of the call for papers is also attached to this email.

For general questions about the conference, please write to: 
dafx2018_gene...@ua.pt
For specific questions concerning the call for papers, please contact: 
dafx2018_pap...@ua.pt


We look forward to receiving your submissions, and to welcoming you to 
Aveiro in September!


Best wishes,
The DAFx2018 Committee

http://dafx2018.web.ua.pt
https://www.facebook.com/dafx2018/
https://twitter.com/2018Dafx

-- next part --
A non-text attachment was scrubbed...
Name: DAFX18_Call_for_Papers_v9.pdf
Type: application/pdf
Size: 200974 bytes
Desc: not available
URL: 
<https://mail.music.vt.edu/mailman/private/sursound/attachments/20180326/10c5094d/attachment.pdf>
___
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] Massless Speakers

[dan2...@yotz.org]

> 
> I think the product you all are talking about was made less than five miles 
> from here, yet I still have not been able to hear a working set.  Company 
> was/is DuKane.  Here's a third-party page with more info:

http://www.roger-russell.com/ionovac/ionovac.htm

-- next part --
An HTML attachment was scrubbed...
URL: 
<https://mail.music.vt.edu/mailman/private/sursound/attachments/20180326/49803ed4/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.

[Sursound] New_deadline_09March::DAFx 2018 Call for Papers, Aveiro, Portugal

[Aníbal Ferreira]

 

Dear Audio researchers, 

_[Apologies for any cross-postings.]_ 

Due to numerous requests, we have decided to extend the submission
deadline to MONDAY, APRIL 9TH, 2018. 

We are actively building an exciting program including the following
three confirmed tutorials: 

"Building plugins and DSP with JUCE", Julian Storer (ROLI) 

"Machine Learning with Applications to Audio", Shahan Nercessian
(iZotope) 

"Digital Audio Filters", Vesa Valimaki (Aalto Univ.) 

as well as three very exciting keynote speakers that we intend to
announce very shortly. 

In addition, the social program is being carefully crafted to complement
the technical program and highlight the very best that the Aveiro region
has to offer. 

We kindly invite you to send your submissions via the following link:
https://easychair.org/conferences/?conf=dafx2018 [1] by the revised
April 9th deadline and furthermore to spread the word to students,
colleagues and collaborators who would enjoy the unique scientific
atmosphere and cordial social interactions that DAFx combines. 

Proceedings with the final versions of the accepted contributions will
be made freely accessible on the DAFx2018 website after the conference
closure. Volumes 2008 to 2017 of the DAFx proceedings are now indexed in
Scopus and this will apply similarly to the DAFx2018 proceedings.
Extended versions of the best DAFx2018 papers will be given special
consideration for publication in the Journal of the Audio Engineering
Society. 

A revised PDF of the call for papers is also attached to this email. 

For general questions about the conference, please write to:
dafx2018_gene...@ua.pt 

For specific questions concerning the call for papers, please contact:
dafx2018_pap...@ua.pt 

We look forward to receiving your submissions, and to welcoming you to
Aveiro in September! 

Best wishes, 

The DAFx2018 Committee 

http://dafx2018.web.ua.pt 

https://www.facebook.com/dafx2018/ 

https://twitter.com/2018Dafx 

 

Links:
--
[1] https://easychair.org/conferences/?conf=dafx2018
-- next part --
An HTML attachment was scrubbed...
URL: 
<https://mail.music.vt.edu/mailman/private/sursound/attachments/20180326/07c55012/attachment.html>
-- next part --
A non-text attachment was scrubbed...
Name: DAFX18_Call_for_Papers_v9.pdf
Type: application/pdf
Size: 200974 bytes
Desc: not available
URL: 
<https://mail.music.vt.edu/mailman/private/sursound/attachments/20180326/07c55012/attachment.pdf>
___
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] Massless speakers

[David Pickett]

At 09:25 26-03-18, Politis Archontis wrote:

>I also remember during a lecture in ISVR, UK, the lecturer mentioning
>these old plasma tweeters, saying they did not get very far cause they
>were ionizing the air producing hazardous levels of ozone :-D .

Rubbish! A friend of mine had a pair and they worked well and nobody 
I know suffered from ozone exposure.


The problems were a) they were patented, b) they were very expensive 
and c) they wouldnt work below 10kHz unless loaded by an enormous horn!


David

___
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.