Re: [Sursound] The Garden of Unearthly Delights
? >> A brief visual cue, which can subsequently be dropped, because our >> neural correction system retains the re-calibration until something else >> occurs to convince our brain that it needs to correct again. No idea how >> you might experiment with that >> >> Chris Woolf >> >> >>> On 15/02/2023 13:43, Sampo Syreeni wrote: >>>> On 2022-12-31, Chris Woolf wrote: >>> >>>> It has always struck me that we can indeed adapt remarkably quickly >>>> to local changes in our personal HTRF, and that therefore this needs >>>> to be considered as a dynamic affair, rather than a purely static one. >>> >>> By the way, there are even more remarkable examples of that >>> adaptability in psychophysics. Perhaps the most dramatic I know of is >>> the one of inverting goggles. Apparently, if you consistently wear a >>> headset which flips your vision upside down, in about two to three >>> weeks your circuits adjust to compensate, and then back again once you >>> stop the experiment. That happens even if you're an adult, so that >>> this is not an example of early childhood, low level plasticity and >>> the irreversibility that comes with it. (Pace kittens only shown >>> vertical stripes and that sort of thing.) >>> >>>> So how much precision is really needed for an HRTF? And how >>>> inaccurate can it be for our normal correction ability to deal with it? >>> >>> Perhaps even more to the point, what precisely are the mechanisms >>> which enable us to compensate like that? Because if we really >>> understood what they are, maybe we could take conscious advantage of >>> them, to rapidly train people to work with a generalized HRTF set, >>> instead of going the hard way of measuring or modelling individualized >>> head, torso and pinna responses. >>> >>> One obvious answer is feedback. I'd argue the main reason head >>> tracking works so well is that we're tuned to correlate how we move >>> with the sensory input provoked by the movement. That's for instance >>> how children appear to learn first occlusion and then by extension >>> object constancy. In audition, I've had the pleasure of trying out a >>> research system in which different kinds of head tracked binaural >>> auralization methods were available for side by side comparison. The >>> system worked surprisingly well even with no HRTF's applied, but just >>> amplitude and delay variation against an idealized pair of point omni >>> receivers. I also adapted to it *really* fast, like in ten minutes or so. >>> >>> But is there more? Head tracking, especially in a directionally solid >>> and low latency form, isn't exactly an over the counter solution yet. >>> So could you perhaps at least partially substitute the learning from >>> feedback with something like synchronized visual or tactile cues, in a >>> training session? Because if you could, you'd suddenly gain a lower >>> cost yet at least somewhat effective version of binaural rendering; >>> there would be money to be made. >> >> >> -- >> >> Subject: Digest Footer >> >> ___ >> Sursound mailing list >> Sursound@music.vt.edu >> https://mail.music.vt.edu/mailman/listinfo/sursound >> >> WHEN REPLYING EDIT THE SUBJECT LINE >> >> ALSO EDIT THE MESSAGE BODY >> >> >> -- >> >> End of Sursound Digest, Vol 174, Issue 5 >> >> > -- next part -- > An HTML attachment was scrubbed... > URL: > <https://mail.music.vt.edu/mailman/private/sursound/attachments/20230326/792e479e/attachment.htm> > ___ > 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] The Garden of Unearthly Delights
this is not an example of early childhood, low level plasticity and > > the irreversibility that comes with it. (Pace kittens only shown > > vertical stripes and that sort of thing.) > > > >> So how much precision is really needed for an HRTF? And how > >> inaccurate can it be for our normal correction ability to deal with it? > > > > Perhaps even more to the point, what precisely are the mechanisms > > which enable us to compensate like that? Because if we really > > understood what they are, maybe we could take conscious advantage of > > them, to rapidly train people to work with a generalized HRTF set, > > instead of going the hard way of measuring or modelling individualized > > head, torso and pinna responses. > > > > One obvious answer is feedback. I'd argue the main reason head > > tracking works so well is that we're tuned to correlate how we move > > with the sensory input provoked by the movement. That's for instance > > how children appear to learn first occlusion and then by extension > > object constancy. In audition, I've had the pleasure of trying out a > > research system in which different kinds of head tracked binaural > > auralization methods were available for side by side comparison. The > > system worked surprisingly well even with no HRTF's applied, but just > > amplitude and delay variation against an idealized pair of point omni > > receivers. I also adapted to it *really* fast, like in ten minutes or so. > > > > But is there more? Head tracking, especially in a directionally solid > > and low latency form, isn't exactly an over the counter solution yet. > > So could you perhaps at least partially substitute the learning from > > feedback with something like synchronized visual or tactile cues, in a > > training session? Because if you could, you'd suddenly gain a lower > > cost yet at least somewhat effective version of binaural rendering; > > there would be money to be made. > > > -- > > Subject: Digest Footer > > ___ > Sursound mailing list > Sursound@music.vt.edu > https://mail.music.vt.edu/mailman/listinfo/sursound > > WHEN REPLYING EDIT THE SUBJECT LINE > > ALSO EDIT THE MESSAGE BODY > > > -- > > End of Sursound Digest, Vol 174, Issue 5 > > -- next part -- An HTML attachment was scrubbed... URL: <https://mail.music.vt.edu/mailman/private/sursound/attachments/20230326/792e479e/attachment.htm> ___ 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] Lisbon-based professionals
Hi Pedro! Thank you for getting in touch, I'm glad you like the project. Oh well, we're at EVOA, so in the middle :) We should definitely meet. Where are you based precisely? Regards Axel On Fri, 24 Mar 2023 at 12:58, Pedro Pestana wrote: > Hi Axel, > I’m close to Lisbon, on the other side of the river. It’s awesome you are > doing this project. I know the area well, but funnily enough haven’t done > much recording (it’s a shame that recording time seems to be proportional > to distance from home). Let me know up to when you’ll be working here and > we’ll see if we can meet up. > Best, > Pedro > > > On 23 Mar 2023, at 14:29, Axel Drioli wrote: > > > > Hi all > > > > I'm Axel Drioli, spatial audio designer and wildlife sound recordist, > > currently working on my project www.soundingwild.com, following the East > > Atlantic Flyway between the UK and South Africa bringing awareness of the > > migratory birds by sharing their sounds, stories and doing 10.2 > loudspeaker > > installations with Virtual Reality headsets wherever we go, the Sounding > > Wild Spatial Audio & VR Experience > > <https://www.soundingwild.com/sw-experience>. > > > > We're now on our second stop in Lisbon, working at the Tagus Estuary, I'm > > wondering who's based in the area, to share our work, maybe doing a demo, > > chat, see what opportunities are around. > > > > Regards > > Axel > > > > -- > > *Axel Drioli* > > *SoundingWild.com <http://soundingwild.com/> * > > > > 'My Garden Of A Thousand Bees' won the Wildscreen's 2022 Golden Panda > Award > > < > https://wildscreen.org/my-garden-of-a-thousand-bees-leads-the-way-at-2022-wildscreen-panda-awards/ > >, > > wildlife sound recordings provided by Axel. > > > > Follow our nomadic 4x4 Overlanding journey capturing wildlife stories on > > the African-Eurasian flyways, Sounding Wild Exploration > > <https://www.soundingwild.com/> > > > > > > Check out what audiences think about our work! > > > > https://youtu.be/OwFGPWEpQK4 > > -- next part -- > > An HTML attachment was scrubbed... > > URL: < > https://mail.music.vt.edu/mailman/private/sursound/attachments/20230323/c0e89595/attachment.htm > > > > ___ > > 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. > -- *Axel Drioli* *SpatialAudioLabs.com <http://spatialaudiolabs.com/>* *Creating sonic immersive experiences for XR and installations.* *SoundingWild.com <http://soundingwild.com/> for Wildlife and Conservation immersive experiences.* *Tel-Facetime: +44 7460 223640* *E-mail: a...@spatialaudiolabs.com * *'Life On The Edge', a Sounding Wild <http://www.soundingwild.com/> x Spatial Audio Labs production for Wildlife Alliance <https://www.wildlifealliance.org/> is part of EarthXR 2020 <https://earthx.org/expo/main-attractions/earthxr/> official selection and Finalist at SXSW2020 Virtual Noise Showcase* -- next part -- An HTML attachment was scrubbed... URL: <https://mail.music.vt.edu/mailman/private/sursound/attachments/20230326/4aa8f55f/attachment.htm> ___ 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.
