gosh! this is like the mid-90s, when I first joined the list, and the topic "why hasn't ambisonics taken off?" cropped up every few days, sometimes a week.
It's always hard to prove why something doesn't happen - and thus, as a basis for a dissertation, I would be very wary of advising the dissertation question be framed this way. But there are some jolly good arguments here, and collecting and collating them would be a good idea - who knows, if the dissertation is decent, it could be hosted on ambisonia.com, when York university get it up and running? Dr Peter Lennox School of Technology, Faculty of Arts, Design and Technology University of Derby, UK e: p.len...@derby.ac.uk t: 01332 593155 ________________________________________ From: sursound-boun...@music.vt.edu [sursound-boun...@music.vt.edu] On Behalf Of Robert Greene [gre...@math.ucla.edu] Sent: 31 March 2012 03:35 To: Surround Sound discussion group Subject: Re: [Sursound] Can anyone help with my dissertation please? I am curious about this concept of revival of Ambisonics in the past ten years. Is there really any commercially available Ambisonic material? Is anyone actually selling higher order Ambisonic products? I realize that of course anything at all can be implemented on computers. But suppose I wanted to hear say a decoded version of UHJ recordings of the past? (I can do this--I have a processor--but I mean for a person outside the field). Could you do this by just pushing a few buttons? Is anyone out in the real world actually hearing any Ambisonic material at all, people outside the group of people interested in it in a serious quasi professional (or really professional) way? My impression is that the general public, even the audio public, has never heard of it, even now. I think the revivial of interest is mostly just among people like the people here. Am I missing something? Robert On Fri, 30 Mar 2012, Fons Adriaensen wrote: > On Fri, Mar 30, 2012 at 12:52:22PM -0700, Robert Greene wrote: > >> Surround in music has never been a hit in any form and it still >> is not. Moreover most music is not really enhanced by it in the minds of >> most people. Orchestral music benefits enormously--most of what you hear >> in an orchestra concert is all around you--but most people do not listen >> to that kind of music. And canned artificial music , well, surround of >> any kind hardly matters. > > Correct. And if you want to use Ambisonics for anything beyond > listening to classical music, e.g. to compete with 5.1 for movie > sound, you need higher order. Which was near impossible or at least > horribly complicated and expensive with analog technology. > The revival of the past ten years or so is largely the result of > higher order becoming possible in practice, along with an interest > from telecom companies rather than music producers. > > Ciao, > > -- > FA > > A world of exhaustive, reliable metadata would be an utopia. > It's also a pipe-dream, founded on self-delusion, nerd hubris > and hysterically inflated market opportunities. (Cory Doctorow) > > _______________________________________________ > 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 _____________________________________________________________________ The University of Derby has a published policy regarding email and reserves the right to monitor email traffic. If you believe this email was sent to you in error, please notify the sender and delete this email. Please direct any concerns to info...@derby.ac.uk. _______________________________________________ Sursound mailing list Sursound@music.vt.edu https://mail.music.vt.edu/mailman/listinfo/sursound
