On 04/01/2012 09:05 PM, Augustine Leudar wrote:
again to anyone who says things like "ambisonics cant compete with 5.1
please bear in mind this is like saying "amplitude panning can't
compete with 5.1 - it doesnt make any sense at all. You mix your
tracks horizontally ,without elevation, using ambisonics plugins and
burn your ac3/dts file like any other surround mix.
higher order ambisonics can compete. first order cannot.
a competently created discrete 5.0 recording or mix will be more robust
_and_ more enveloping than any g-format derived from first order. try
it. it's quite obvious really: first order gives you just three channels
worth of information. the rest is crosstalk, which can (and will)
created phasing artefacts, particularly in the front between L, C and R.
that kind of speaker density just doesn't make sense with first order.
the benefits of ambisonic localisation (particularly the phase
information at LF) will disappear as soon as the loudspeaker placement
differs from the layout assumed during encoding. as many others have
observed, there are practically no correct ITU layouts in the wild, and
there's usually no delay compensation, either.
5.0 on the other hand can be used to deliver completely decorrelated
information in each speaker, which is extremely robust and pleasant to
listen to, even if not exactly meaningful :)
creating 5.0 from higher-orders can reduce crosstalk problems to some
extent, but it doesn't help much if the listening layout is too
different from the encoding assumption.
<snip>
The new 22.4 (or something)
sound systems that cinemas are launching soon will allow height
information as well.
it's 22.2, in fact. not that it makes much difference :)
You could mix a lot of films using ambisonics
when this happens.
22.2 is a strong argument to go for at least 4th order in production.
--
Jörn Nettingsmeier
Lortzingstr. 11, 45128 Essen, Tel. +49 177 7937487
Meister für Veranstaltungstechnik (Bühne/Studio)
Tonmeister VDT
http://stackingdwarves.net
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