This surely confirms my view , at least to my mind.
When the only available items is computer games...
well, I know there is money in they, but they are not for me
and I care not at all what they sound like.
This seems to me going out not with a bang but a definite
whimper. Gerzon would be disappointed, I think. As I understand
his life, he liked music. And that is what he was
interested in reproducing. I think it is a shame that
no way has been found for that purpose to be realized.
Robert
On Sat, 31 Mar 2012, etienne deleflie wrote:
Is there really any commercially available Ambisonic material?
yes ... in computer games. Buy yourself a PS3, then buy Codemaster's F1, or
Dirt games ... and you'll be hearing (IIRC) 4th order ambisonic encoding
and decoding ... you can listen in 3D sound using Simon Goodwin's hybrid
3D7.1 layout (height produced over an adapted 7.1 layout).
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.
I think that is largely true.
Ambisonics has the problem that it is impractical. I believe it is too
impractical for the home (at least with the currently available
technology). I've blogged about that here:
http://etiennedeleflie.net/2012/01/03/ambisonics-is-bad-technology/
And canned artificial music , well, surround of
any kind hardly matters.
I think it is the exact opposite. "Canned artificial music" is the only
place where spatial audio maters and maters a lot. Here, I draw a
distinction between 'surround' ... and spatial audio. The use of our
spatial perceptual abilities to isolate sounds (auditory stream
segregation) is used and abused with great skill by contemporary
'producers'. That's why the most important plugins in DAWs are things like
reverberation, panning, digital delay, low-pass-filters, volume control
etc. These are all *spatial* processes. I've blogger about that here:
http://etiennedeleflie.net/2012/01/04/aphex-twin-and-spatial-audio/
Am I missing something?
You are forgetting that ambisonics is inaccessible (to the masses). In this
respect Ambisonics is a half-technology. The missing half is the half that
allows people to have a consistently good and dependable spatial audio
experience by buying a product, going home and hitting 'play'. In the
consumer market place, its called *user experience*. The user-experience
delivered by today's ambisonic technologies is only sufferable by a select
few ... audio-engineers, technically minded audiophiles, academic
researchers ...
Etienne
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)
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