Robert Greene wrote:
2 Forces people to use one point miking
Actually I don't understand why you list one point miking in the
"Goods". :-)
However, from quite early on, it was possible to use mono and stereo
microphones and to encode them into UHJ with the Audio & Design
Transcoder and into B-Format with the Pan/Rotate unit. Another thing is,
why people didn't find the A&D gear. It wasn't more expensive than other
studio gear.
However, the "need for one point miking" is a confusion that might have made
Ambisonics less attractive for the recording studios. They may have
thought that
you _must_ use a Soundfield. I think people got this picture because Nimbus
Records were advertising their recordings as "one microphone" recordings.
Minimalist recordings were attracted by some high end circles and it of
course
was a marketing factor.
(I have tried to write about Ambisonics
for the general audio public--no dice, people did not get it even
though I thought what I wrote was clear as crystal)
I also tried that and also thought that what I wrote was clear as crystal.
I sometimes saw a certain smile on the face of some of my colleagues
after they
had read my articles. :-)
- - -
I also thought of another thing: The original group published their
first articles
about Ambisonics in electronics hobbyist magazines, such as Wireless
World and Elektor. As far as I know, the first article in a respected
science
magazine was that by Peter Fellgett in Nature. Many pro audio magazines also
published articles about Ambisonics before Gerzon gave out papers for
the AES.
Eero
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