In the early seventies, I remember Trevor Wishart doing a "spatial audio" piece by putting battery
powered cassette recorders in suitcases and having the performers move around carrying them (and I'm
sure there have been other such...)
However, back to the present - given the progress the military are making on miniaturising spy
drones, these would probably be a better bet than the average fly :-)
Dave
On 30/05/2012 15:19, Peter Lennox wrote:
Of course, the other way is to attach a small, high power speaker to a trained
fly....
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 Augustine Leudar
Sent: 30 May 2012 15:18
To: Surround Sound discussion group
Subject: Re: [Sursound] Chasing flies with ambisoinics?
Wow - thats real startrek material right there Dave ! I was letting my
imagination wander in a similar area the other day and was wondering
if the beating/harmonics caused by two beams of electromagnetic waves
could somehow excite the air where their paths crossed causing a sound
to eminate from that spot. Although it may sound a bit out there I
found out from a PHD student that there some Russians doing something
vaguely similar already except they are doing it the other way round -
using ultrasound propogated in a liquid to create light :
http://www.myspace.com/video/12k-line/evelina-domnitch-dmitry-gelfand-quot-xenon-wind-quot-camera-lucida-dvd/7806818
On 30/05/2012, Dave Malham<dave.mal...@york.ac.uk> wrote:
One thing to bear in mind is that the perception of proximity is far easier
to achieve with (fairly
rapidly) moving sources. If you get the changing patterns of simulated
early reflections right, the
ear/brain will focus on the consistent cues (early reflections) and tend to
ignore the inconsistent
ones like the direct to reverb ratio. Unfortunately, once the sound stops
moving, the direct to
reverb ratio becomes more consistent, so....
However, with any loudspeaker based system, you are continually battling
against the loudspeaker
radius (a.k.a. "reverberation radius" or "critical distance") problem - that
is, the sound from a
loudspeaker (or loudspeakers) always tries to sound like it is coming from
not less than the
distance of the loudspeaker, simply because (one of) the strongest distance
cue is the ratio of
direct to reverberant sound. It's easier if you have a very dead room and
the soundscape you are
trying to reproduce has noticeably more reverberation, since you can then
get the
direct-to-reverberant ratio more closely right. Not that it's easier with
WFS or HOA to get some of
the other cues right, such as wavefront curvature and this helps greatly -
but is not a panacea.
There are only two ways (at present) that I am aware of in which you can,
even theoretically, do it
- short of physically having moving loudspeakers. The first is individually
headtracked binaural
synthesis over headphones, the other is the use of steerable spots of sound
produced by crossing,
modulated ultrasonic beams - a bit like Holophonics
<http://www.holosonics.com/> Acoustic Spotlights
but with more widely spread transducers, so that the demodulation only
occurs where the beams cross.
Dave
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