Re: [Sursound] AES London Lecture
Hi, Yes it was interesting and enjoyable, mostly due to interactions with others. It attracted a good turn out, with interesting and interested attendees. Since hearing of this presentation I've played with the ideas with Max/MSP, helped by the manual for ViMic and a bit of web-based maths education, so had a pretty good idea what to expect. I didn't bother trying to sit in the centre and operate it myself. There were too many people for that, but could clearly hear it working from the fringes of the speaker circle and outside it. There seems to be no more precision about it than first order ambisonics. That can also be a bit lumpy when panning around a circle of loudspeakers unless they are well set up in a good environment. It can obviously be extended to include height. Although higher order microphones are nearly unachievable physically they are achievable in software, so more channels and more loudspeakers are possible for spatial synthesis. It does use spaced microphones to produce something related to head acoustics, something I've always had reservations about, largely because one is going to listen with one's own head. I had noticed that panning a sound to centre results in it being at the back of all the microphones, and suggested to Zoran that this could be fixed by pointing the array inwards, which works nicely in synthesis where the microphones cannot mask each other. I've also experimented with widely spaced and irregular microphone arrays, as microphone and speaker are basically analogous in this case. I suppose really one should be able to control the order of the loudspeaker radiation pattern, not easy. Very difficult to make smooth, but there are possibilities. Ciao, Dave Hunt From: Jon Honeyball j...@jonhoneyball.com Date: 14 January 2015 08:59:19 GMT To: Surround Sound discussion group sursound@music.vt.edu Subject: Re: [Sursound] AES London Lecture It was an interesting presentation. The demonstration was not wholly convincing, I have to say — (a bongo drum sound that you could manually steer around the horizontal sound field) I think I have heard better surround from normal ambisonics. A claim for this system is that it is more convincing away from the “sweet spot”. Again, on the demo, I wasn’t particularly convinced, with notable collapse and fail-over from one speaker to the next especially from 90 degrees to 180 degrees. In fairness, it wasn’t a particularly easy demo environment, with a lot of people in the room. In a more purist test, it might well do better? As I said, interesting and well worth attending, despite the limitations. And, my goodness, doesn’t Kings College have *dreadful* internal signage? Trying to get out turned into an episode of a maze game. jon On 31/12/2014 17:52, Aaron Heller hel...@ai.sri.com wrote: On Wed, Dec 31, 2014 at 3:20 AM, Dave Malham dave.mal...@york.ac.uk wrote: I wonder how closely this is related to the paper he was one of the authors of at the 2010 Ambisonics Symposium? Anyone have it handy? Here's the URL: http://ambisonics10.ircam.fr/drupal/files/proceedings/poster/ P6_41.pdf Also an IEEE paper from 2013 http://ieeexplore.ieee.org/xpl/articleDetails.jsp?arnumber=6508825 This paper presents a systematic framework for the analysis and design of circular multichannel surround sound systems. Objective analysis based on the concept of active intensity fields shows that for stable rendition of monochromatic plane waves it is beneficial to render each such wave by no more than two channels. Based on that finding, we propose a methodology for the design of circular microphone arrays, in the same configuration as the corresponding loudspeaker system, which aims to capture inter- channel time and intensity differences that ensure accurate rendition of the auditory perspective. The methodology is applicable to regular and irregular microphone/speaker layouts, and a wide range of microphone array radii, including the special case of coincident arrays which corresponds to intensity-based systems. Several design examples, involving first and higher-order microphones are presented. Results of formal listening tests suggest that the proposed design methodology achieves a performance comparable to prior art in the center of the loudspeaker array and a more graceful degradation away from the center. Le 31 déc. 2014 à 00:08, John Leonard j...@johnleonard.co.uk a écrit : This looks interesting: Upcoming Lectures London: Tuesday 13th January Perceptual Sound Field Reconstruction and Coherent Synthesis Zoran Cvetkovic, Professor of Signal Processing at King's College London Imagine a group of fans cheering their team at the Olympics from a local pub, who want to feel transposed to the arena by experiencing a faithful and convincing auditory perspective of the scene they see on the screen. They hear the punch
Re: [Sursound] AES London Lecture
It was an interesting presentation. The demonstration was not wholly convincing, I have to say — (a bongo drum sound that you could manually steer around the horizontal sound field) I think I have heard better surround from normal ambisonics. A claim for this system is that it is more convincing away from the “sweet spot”. Again, on the demo, I wasn’t particularly convinced, with notable collapse and fail-over from one speaker to the next especially from 90 degrees to 180 degrees. In fairness, it wasn’t a particularly easy demo environment, with a lot of people in the room. In a more purist test, it might well do better? As I said, interesting and well worth attending, despite the limitations. And, my goodness, doesn’t Kings College have *dreadful* internal signage? Trying to get out turned into an episode of a maze game. jon On 31/12/2014 17:52, Aaron Heller hel...@ai.sri.com wrote: On Wed, Dec 31, 2014 at 3:20 AM, Dave Malham dave.mal...@york.ac.uk wrote: I wonder how closely this is related to the paper he was one of the authors of at the 2010 Ambisonics Symposium? Anyone have it handy? Here's the URL: http://ambisonics10.ircam.fr/drupal/files/proceedings/poster/P6_41.pdf Also an IEEE paper from 2013 http://ieeexplore.ieee.org/xpl/articleDetails.jsp?arnumber=6508825 This paper presents a systematic framework for the analysis and design of circular multichannel surround sound systems. Objective analysis based on the concept of active intensity fields shows that for stable rendition of monochromatic plane waves it is beneficial to render each such wave by no more than two channels. Based on that finding, we propose a methodology for the design of circular microphone arrays, in the same configuration as the corresponding loudspeaker system, which aims to capture inter-channel time and intensity differences that ensure accurate rendition of the auditory perspective. The methodology is applicable to regular and irregular microphone/speaker layouts, and a wide range of microphone array radii, including the special case of coincident arrays which corresponds to intensity-based systems. Several design examples, involving first and higher-order microphones are presented. Results of formal listening tests suggest that the proposed design methodology achieves a performance comparable to prior art in the center of the loudspeaker array and a more graceful degradation away from the center. Le 31 déc. 2014 à 00:08, John Leonard j...@johnleonard.co.uk a écrit : This looks interesting: Upcoming Lectures London: Tuesday 13th January Perceptual Sound Field Reconstruction and Coherent Synthesis Zoran Cvetkovic, Professor of Signal Processing at King's College London Imagine a group of fans cheering their team at the Olympics from a local pub, who want to feel transposed to the arena by experiencing a faithful and convincing auditory perspective of the scene they see on the screen. They hear the punch of the player kicking the ball and are immersed in the atmosphere as if they are watching from the sideline. Alternatively, imagine a small group of classical music aficionados following a broadcast from the Royal Opera at home, who want to have the experience of listening to it from best seats at the opera house. Imagine having finally a surround sound system with room simulators that actually sound like the spaces they are supposed to synthesise, or watching a 3D nature film in a home theatre where the sound closely follows the movements one sees on the screen. Imagine also a video game capable of providing a convincing dynamic auditory perspective that tracks a moving game player and responds to his actions, with virtual objects moving and acoustic environments changing. Finally, place all this in the context of visual technology that is moving firmly in the direction of 3D capture and rendering, where enhanced spatial accuracy and detail are key features. In this talk we will present a technology that enables all these spatial sound applications using low-count multichannel systems. This month's lecture is being held at King's College London, Nash Lecture Theatre, K2.31, Strand, London, WC2R 2LS. 6:30pm for 7:00pm start. I'll be there if I can. John -- next part -- An HTML attachment was scrubbed... URL: https://mail.music.vt.edu/mailman/private/sursound/attachments/20141231/b 118ab2e/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 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] AES London Lecture
It does indeed - especially if it delivers for real ;-) Le 31 déc. 2014 à 00:08, John Leonard j...@johnleonard.co.uk a écrit : This looks interesting: Upcoming Lectures London: Tuesday 13th January Perceptual Sound Field Reconstruction and Coherent Synthesis Zoran Cvetkovic, Professor of Signal Processing at King’s College London Imagine a group of fans cheering their team at the Olympics from a local pub, who want to feel transposed to the arena by experiencing a faithful and convincing auditory perspective of the scene they see on the screen. They hear the punch of the player kicking the ball and are immersed in the atmosphere as if they are watching from the sideline. Alternatively, imagine a small group of classical music aficionados following a broadcast from the Royal Opera at home, who want to have the experience of listening to it from best seats at the opera house. Imagine having finally a surround sound system with room simulators that actually sound like the spaces they are supposed to synthesise, or watching a 3D nature film in a home theatre where the sound closely follows the movements one sees on the screen. Imagine also a video game capable of providing a convincing dynamic auditory perspective that tracks a moving game player and responds to his actions, with virtual objects moving and acoustic environments changing. Finally, place all this in the context of visual technology that is moving firmly in the direction of ”3D” capture and rendering, where enhanced spatial accuracy and detail are key features. In this talk we will present a technology that enables all these spatial sound applications using low-count multichannel systems. This month's lecture is being held at King’s College London, Nash Lecture Theatre, K2.31, Strand, London, WC2R 2LS. 6:30pm for 7:00pm start. I'll be there if I can. John Please note new email address direct line phone number email: j...@johnleonard.uk phone +44 (0)20 3286 5942 ___ 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.
Re: [Sursound] AES London Lecture
Now that's annoying - I'm actually in London the Tuesday before that AND the Tuesday the week after, but not that Tuesday. Arghh. Dave On 30 December 2014 at 23:08, John Leonard j...@johnleonard.co.uk wrote: This looks interesting: Upcoming Lectures London: Tuesday 13th January Perceptual Sound Field Reconstruction and Coherent Synthesis Zoran Cvetkovic, Professor of Signal Processing at King’s College London Imagine a group of fans cheering their team at the Olympics from a local pub, who want to feel transposed to the arena by experiencing a faithful and convincing auditory perspective of the scene they see on the screen. They hear the punch of the player kicking the ball and are immersed in the atmosphere as if they are watching from the sideline. Alternatively, imagine a small group of classical music aficionados following a broadcast from the Royal Opera at home, who want to have the experience of listening to it from best seats at the opera house. Imagine having finally a surround sound system with room simulators that actually sound like the spaces they are supposed to synthesise, or watching a 3D nature film in a home theatre where the sound closely follows the movements one sees on the screen. Imagine also a video game capable of providing a convincing dynamic auditory perspective that tracks a moving game player and responds to his actions, with virtual objects moving and acoustic environments changing. Finally, place all this in the context of visual technology that is moving firmly in the direction of ”3D” capture and rendering, where enhanced spatial accuracy and detail are key features. In this talk we will present a technology that enables all these spatial sound applications using low-count multichannel systems. This month's lecture is being held at King’s College London, Nash Lecture Theatre, K2.31, Strand, London, WC2R 2LS. 6:30pm for 7:00pm start. I'll be there if I can. John Please note new email address direct line phone number email: j...@johnleonard.uk phone +44 (0)20 3286 5942 ___ 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. -- 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 -- An HTML attachment was scrubbed... URL: https://mail.music.vt.edu/mailman/private/sursound/attachments/20141231/8320ab6e/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] AES London Lecture
I wonder how closely this is related to the paper he was one of the authors of at the 2010 Ambisonics Symposium? Anyone have it handy? Dave On 31 December 2014 at 08:47, Pierre Alexandre Tremblay tremb...@gmail.com wrote: It does indeed - especially if it delivers for real ;-) Le 31 déc. 2014 à 00:08, John Leonard j...@johnleonard.co.uk a écrit : This looks interesting: Upcoming Lectures London: Tuesday 13th January Perceptual Sound Field Reconstruction and Coherent Synthesis Zoran Cvetkovic, Professor of Signal Processing at King’s College London Imagine a group of fans cheering their team at the Olympics from a local pub, who want to feel transposed to the arena by experiencing a faithful and convincing auditory perspective of the scene they see on the screen. They hear the punch of the player kicking the ball and are immersed in the atmosphere as if they are watching from the sideline. Alternatively, imagine a small group of classical music aficionados following a broadcast from the Royal Opera at home, who want to have the experience of listening to it from best seats at the opera house. Imagine having finally a surround sound system with room simulators that actually sound like the spaces they are supposed to synthesise, or watching a 3D nature film in a home theatre where the sound closely follows the movements one sees on the screen. Imagine also a video game capable of providing a convincing dynamic auditory perspective that tracks a moving game player and responds to his actions, with virtual objects moving and acoustic environments changing. Finally, place all this in the context of visual technology that is moving firmly in the direction of ”3D” capture and rendering, where enhanced spatial accuracy and detail are key features. In this talk we will present a technology that enables all these spatial sound applications using low-count multichannel systems. This month's lecture is being held at King’s College London, Nash Lecture Theatre, K2.31, Strand, London, WC2R 2LS. 6:30pm for 7:00pm start. I'll be there if I can. John Please note new email address direct line phone number email: j...@johnleonard.uk phone +44 (0)20 3286 5942 ___ 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. -- 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 -- An HTML attachment was scrubbed... URL: https://mail.music.vt.edu/mailman/private/sursound/attachments/20141231/b1b3c71a/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] AES London Lecture
On Wed, Dec 31, 2014 at 3:20 AM, Dave Malham dave.mal...@york.ac.uk wrote: I wonder how closely this is related to the paper he was one of the authors of at the 2010 Ambisonics Symposium? Anyone have it handy? Here's the URL: http://ambisonics10.ircam.fr/drupal/files/proceedings/poster/P6_41.pdf Also an IEEE paper from 2013 http://ieeexplore.ieee.org/xpl/articleDetails.jsp?arnumber=6508825 This paper presents a systematic framework for the analysis and design of circular multichannel surround sound systems. Objective analysis based on the concept of active intensity fields shows that for stable rendition of monochromatic plane waves it is beneficial to render each such wave by no more than two channels. Based on that finding, we propose a methodology for the design of circular microphone arrays, in the same configuration as the corresponding loudspeaker system, which aims to capture inter-channel time and intensity differences that ensure accurate rendition of the auditory perspective. The methodology is applicable to regular and irregular microphone/speaker layouts, and a wide range of microphone array radii, including the special case of coincident arrays which corresponds to intensity-based systems. Several design examples, involving first and higher-order microphones are presented. Results of formal listening tests suggest that the proposed design methodology achieves a performance comparable to prior art in the center of the loudspeaker array and a more graceful degradation away from the center. Le 31 déc. 2014 à 00:08, John Leonard j...@johnleonard.co.uk a écrit : This looks interesting: Upcoming Lectures London: Tuesday 13th January Perceptual Sound Field Reconstruction and Coherent Synthesis Zoran Cvetkovic, Professor of Signal Processing at King's College London Imagine a group of fans cheering their team at the Olympics from a local pub, who want to feel transposed to the arena by experiencing a faithful and convincing auditory perspective of the scene they see on the screen. They hear the punch of the player kicking the ball and are immersed in the atmosphere as if they are watching from the sideline. Alternatively, imagine a small group of classical music aficionados following a broadcast from the Royal Opera at home, who want to have the experience of listening to it from best seats at the opera house. Imagine having finally a surround sound system with room simulators that actually sound like the spaces they are supposed to synthesise, or watching a 3D nature film in a home theatre where the sound closely follows the movements one sees on the screen. Imagine also a video game capable of providing a convincing dynamic auditory perspective that tracks a moving game player and responds to his actions, with virtual objects moving and acoustic environments changing. Finally, place all this in the context of visual technology that is moving firmly in the direction of 3D capture and rendering, where enhanced spatial accuracy and detail are key features. In this talk we will present a technology that enables all these spatial sound applications using low-count multichannel systems. This month's lecture is being held at King's College London, Nash Lecture Theatre, K2.31, Strand, London, WC2R 2LS. 6:30pm for 7:00pm start. I'll be there if I can. John -- next part -- An HTML attachment was scrubbed... URL: https://mail.music.vt.edu/mailman/private/sursound/attachments/20141231/b118ab2e/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] AES London Lecture
This looks interesting: Upcoming Lectures London: Tuesday 13th January Perceptual Sound Field Reconstruction and Coherent Synthesis Zoran Cvetkovic, Professor of Signal Processing at King’s College London Imagine a group of fans cheering their team at the Olympics from a local pub, who want to feel transposed to the arena by experiencing a faithful and convincing auditory perspective of the scene they see on the screen. They hear the punch of the player kicking the ball and are immersed in the atmosphere as if they are watching from the sideline. Alternatively, imagine a small group of classical music aficionados following a broadcast from the Royal Opera at home, who want to have the experience of listening to it from best seats at the opera house. Imagine having finally a surround sound system with room simulators that actually sound like the spaces they are supposed to synthesise, or watching a 3D nature film in a home theatre where the sound closely follows the movements one sees on the screen. Imagine also a video game capable of providing a convincing dynamic auditory perspective that tracks a moving game player and responds to his actions, with virtual objects moving and acoustic environments changing. Finally, place all this in the context of visual technology that is moving firmly in the direction of ”3D” capture and rendering, where enhanced spatial accuracy and detail are key features. In this talk we will present a technology that enables all these spatial sound applications using low-count multichannel systems. This month's lecture is being held at King’s College London, Nash Lecture Theatre, K2.31, Strand, London, WC2R 2LS. 6:30pm for 7:00pm start. I'll be there if I can. John Please note new email address direct line phone number email: j...@johnleonard.uk phone +44 (0)20 3286 5942 ___ 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.
