We have been using ambisonics for several years now to provide immersive soundfields for use within the flight simulation and training environments. Prior to this we were using gain panning that was restrictive and highly coupled to each installation. The use of ambi allows us to port a model from one implementation to another with little modification to the underlying sound simulation model.
Cheers, Neil On Apr 10, 2012, at 4:48 PM, seva wrote: > > i firmly believe there are existing and evolving areas for use of immersive > audio. > > movies, anyone? i'd prefer to have something other than 5, 6, 7 .1 formats > with various implementations (3 across front, 5 across front, 1 center, 2 > sides, whatever) that simply gives a better immersive experience to the > audience. > > games, anyone? as mentioned later in this thread, head-tracking systems > combined with immersive audio would be a rather serious elephant in the room > for the Very Large Money in gaming. > > Seva D. L. Ball > Audio Engineering / Systems > Soundcurrent Mastering > AES, NARAS, ARSC, IASA, F&AM > > > At 11:12 -0400 4/3/12, newme...@aol.com wrote: >> Peter: >> >>> So, if that's right, stereo is predicated on quite a specialized musical >> presentation. >> >> Correct! This is the "presentation" that comes along with "perspective" >> in Renaissance painting and the "linearity" of printed books, etc. >> >> It is a product, if you will, of the Gutenberg Galaxy -- which, in turn, >> started to unravel in the 19th century, yielding "electric" music and ending >> the "classical" period in composition. >> >> This is, perhaps, why the Bell Labs experiments that yielded the 3-channel >> stereo (which they determined was the "minimum" needed to actually produce >> a "solid" musical image, especially for an audience) was discussed in the >> 1934 "Symposium on Auditory Perspective." >> >> _http://www.aes.org/aeshc/docs/bell.labs/auditoryperspective.pdf_ >> (http://www.aes.org/aeshc/docs/bell.labs/auditoryperspective.pdf) >> >> So, on this account, you might expect that some music that "preceded" the >> imposition of this EYE-based conformity would exhibit more respect for the >> "surround," just as you would expect that some music that "followed" the >> relaxing of this *environmental* constraint might also begin to explicitly >> investigate the *spherical* nature of sound. >> >> That is, of course, exactly what seems to have happened! >> >> None of which, however, changes the fact that in the electric era -- the >> first and only media environment which created MASS audiences -- music >> continued to be largely an expression of the "unconscious" orientation for >> "perspective" (i.e. linear, eye-based, frontal performances), which then >> became a >> very "conscious" part of the commercialization of "performances" -- in our >> own living-rooms. >> >> It would have to wait for the further shift from *electric* to *digital* >> media environment for all of this -- both the linearity of Gutenberg and the >> "chaos" of "modernity" -- to begin to appear as arbitrary and merely >> historical "accidents." >> >> Now, we are ready for Ambisonics (but not as a mass-market phenomenon) . . . >> as we all become MEDIEVAL (or, if you prefer, post-modern) once again!! >> >> Mark Stahlman >> Brooklyn NY >> >> >> In a message dated 4/3/2012 10:44:35 A.M. Eastern Daylight Time, >> p.len...@derby.ac.uk writes: >> >> I've always assumed that frontal, proscenium arch -type presentations came >> out of the logistics of clocking large numbers of musicians together - >> generally using a visual cue in the form of a conductor (also, individual >> musicians might feel a bit lonely if they can't hang out with their mates) - >> and this in turn helped reify the distinction between the music makers and >> the music listeners. >> In other musical forms (music to have your dinner by, Telemann, lounge >> music, ambient, scallywags employed to amuse the medieval court , up there >> in >> the minstrels gallery, modern club music, wedding party celebration music, >> religious music [various cultures] etc etc) 'front' would have less, if any, >> relevance. >> So, if that's right, stereo is predicated on quite a specialised musical >> presentation. >> >> So, then, saying 'stereo is all you need' is a bit like saying 'you don't >> need 4 wheel drive' - true, but in circumscribed circumstances. >> >> Dr Peter Lennox >> School of Technology University of Derby, UK >> tel: 01332 593155 >> e: p.len...@derby.ac.uk >> >> -----Original Message----- >> From: sursound-boun...@music.vt.edu [mailto:sursound-boun...@music.vt.edu] >> On Behalf Of Dave Malham >> Sent: 03 April 2012 09:49 >> To: Surround Sound discussion group >> Subject: Re: [Sursound] OT: Spatial music >> >> Hi Robert, >> Umm - I was making exactly the opposite point - invented in the >> 16th century makes it, as far as music is concerned, a very new >> concept. On the other hand,when talking about "acoustic _concert_ >> music", it's almost tautologous that they are frontally presented, >> because the whole concept of a musical concert was invented at the >> same time, probably as a way of making money (I haven't researched >> that, it's just a guess) - it's much more difficult to make money from >> an audience who can just walk away without embarrassing themselves - >> and if you don't believe that (the fear of) embarrassment is not a >> strong driver, just watch an inexperienced western audience at the end >> of a Gamelan concert trying to get up the courage to actually leave >> the concert _during_ the ending piece :-) . Actually, talking about >> Gamelan, that's a case in point - in the West (and probably >> increasingly in it's home countries) Gamelan is usually presented >> frontally (even we usually do that) but this is _not_ correct >> traditionally. >> >> Dave >> >> On 2 April 2012 16:34, Robert Greene <gre...@math.ucla.edu> wrote: >>> >>> It may be old but it is still all but universal >>> in acoustic concert music. >>> I think it is disingenuous to say that it is not. >>> How many symphony concerts have you been to >>> recently where the orchestra surrounded the audience. >>> The other way around, sure. >>> But I think this is just not true, that music >>> with the musicians around the audience is common. >>> Not in the statistical sense of percentage of >>> concerts where it happens. >>> Robert >>> >>> On Mon, 2 Apr 2012, Dave Malham wrote: >>> >>>> Right on - as I've said before, frontal music is largely a development >> of >>>> 16th century Western civilisation and is not universal, even now. >>>> >>>> By the way, be careful about the Gabrielli's in St. Marks - there is at >>>> least some evidence that separate choirs singing antiphonally were _not >>>> _used at St Mark's (see Bryant, D. "The Cori Spezzati of St. Mark's: >> Myth >>>> and Reality" in Early Music History, Cambridge 1981, p169). >>>> >>>> Dave >>>> >>>> >>>> On 01/04/2012 10:20, Paul Hodges wrote: >>>>> >>>>> --On 31 March 2012 18:34 -0700 Robert Greene <gre...@math.ucla.edu> >>>>> wrote: >>>>> >>>>>> Of course music exists that is not in front. But the vast bulk of >>>>>> concert music is not like that. >>>>> >>>>> >>>>> Sure; but what proportion of music are we happy to be unable to >> reproduce >>>>> properly? My organ music (admittedly as much as 20% of my listening) >> was a >>>>> trivial example - and it's only in combination with other things that >> it >>>>> becomes spatially interesting, generally. You mentioned Gabrieli and >>>>> Berlioz in a slightly dismissive manner; I would add to them people >> like >>>>> Stockhausen and Earle Brown, a folk group moving among their audience, >> a >>>>> hall full of schoolchildren bouncing their sounds off each other from >>>>> different parts of the hall. Not all within the restricted form of >> "concert >>>>> music", but music in the real world where we turn our heads and enjoy >> our >>>>> whole environment. >>>>> >>>>> Paul >>>>> >>>> >>>> -- >>>> These are my own views and may or may not be shared by my employer >>>> /*********************************************************************/ >>>> /* Dave Malham http://music.york.ac.uk/staff/research/dave-malham/ */ >>>> /* Music Research Centre */ >>>> /* Department of Music "http://music.york.ac.uk/"; */ >>>> /* The University of York Phone 01904 322448 */ >>>> /* Heslington Fax 01904 322450 */ >>>> /* York YO10 5DD */ >>>> /* UK 'Ambisonics - Component Imaging for Audio' */ >>>> /* "http://www.york.ac.uk/inst/mustech/3d_audio/"; */ >>>> /*********************************************************************/ >>>> >>>> -------------- next part -------------- >>>> An HTML attachment was scrubbed... >>>> URL: >> <https://mail.music.vt.edu/mailman/private/sursound/attachments/20120402/49f083b7/attachment.html> >> >> _______________________________________________ >>>> 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 >> >> >> >> -- >> >> These are my own views and may or may not be shared by my employer >> >> Dave Malham >> Music Research Centre >> Department of Music >> The University of York >> Heslington >> York YO10 5DD >> UK >> Phone 01904 322448 >> Fax 01904 322450 >> 'Ambisonics - Component Imaging for Audio' >> _______________________________________________ >> 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 >> -------------- next part -------------- >> An HTML attachment was scrubbed... >> URL: >> <https://mail.music.vt.edu/mailman/private/sursound/attachments/20120403/3448f07b/attachment.html> >> _______________________________________________ >> 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 > _______________________________________________ Sursound mailing list Sursound@music.vt.edu https://mail.music.vt.edu/mailman/listinfo/sursound
