I have a naive question for experts: would it be possible to recreate the acoustics of the Philips Pavillon using room simulation techniques and ambisonics spatialization?
Sun, 01 May 2011 17:25:40 +0100, Richard Dobson <richarddob...@blueyonder.co.uk> a écrit : > Funnily enough, we had a performance at Bath Uni a few weeks ago > (Kees Tazelaar, famous among other things for digitising the original > tapes of the Poeme Electronique), playing material all of which was > explicitly eight discrete feeds - a different sound to each speaker. > This was in a very cuboid space ( high ceiling though), built simply > as a music store room for pianos, organ, etc, hard flat stone walls > (one of which was used for video projection) so very live and > reflective, and relatively small (audience about 20), and all we > could do was put four speakers in the corners and the other four in > the middle of each wall (small powered KRK somethings plus > subwoofer), well out of accidental arm's reach. So, all in all, far > from ideal acoustic conditions. > > Nevertheless, the sounds came over very well and clearly. If anything > the live environment smoothed out the "localisation" a bit, so that > (insofar as it was desired) one could quite reasonably talk in terms > of 'envelopment'; even though the composer had the clear goal, at > least in a couple of pieces, of using the space to give a clear > separation to some sometimes dense particle-like sonorities. This was > certainly successful - we all "got" it. Sounds from behind were > predictably less clear in direction, as they obviously reflected > quite strongly from the front. This was the first outing for a > freshly acquired eight-speaker set, and the event was certainly > convincing for me and my composer colleagues in terms of wanting to > compose for it. > > Short of making the test, we will never know if the Ambisonic > approach would have been "better". The concert would be perfectly > well described in the above terms of being "completely worked out in > terms of using an ad-hoc [well, octagonal] speaker layout". The point > is that the effect was more than sufficiently engaging as is; even if > the Ambisonic approach would be "better", the discrete approach was > not in any meaningful sense "bad". Just, I guess, "different". > > The other point I would make in this regard is that one simply does > not go to a performance desperately trying to establish ~exactly~ > where a sound is coming from! (well, I don't, anyway). It was clear > and effective enough as it was. One just wants to relax and receive > what there is to receive. My concern is that the relentless pursuit > of ever-sharper localisation has become such a priority (dare I say > it, an obsession), that the technical priorities have got steadily > out of hand; and that as often as not a simple, minimal, positionally > "dithered" outcome is just fine, and may indeed, in many cases, be > artistically preferable. > > Richard Dobson > > > > _______________________________________________ > Sursound mailing list > Sursound@music.vt.edu > https://mail.music.vt.edu/mailman/listinfo/sursound > _______________________________________________ Sursound mailing list Sursound@music.vt.edu https://mail.music.vt.edu/mailman/listinfo/sursound
