Ralph I have created a suite of rooms in impulse response of varying size, shape and wall material. I have done this in Voxengo Impulse Modeler. I have created 5 frontal positions with early reflections and time values. There is a late reflections/reverberation stereo inpulses. I have learned to mix impulses from the same room with different mic placement and differing diffusion. The direct and early reflections give the location and change the signal from mono to stereo. The late room give ambience. This fall I am hoping to create a suite of B format rooms with the late reflections and some time consideration. This would be added to direct and early reflections which can be panned to pairs of speakers or other means of localization. While not WFS, I think that it will be very satisfactory. ThomasChen In a message dated 7/7/2012 7:16:12 P.M. Pacific Daylight Time, rglas...@yahoo.com writes:
Using a new HP Pavillion HPE h8-1280t desktop Windows 7 PC with a solid state disk drive and RME ADAT sound cards I have been able to generate ambience signals for 26 surround speakers in essentially real time with only about 12 milliseconds of latency. The computer uses AudioMulch as the DAW with 13 iterations of the Waves IL-R VST plugin as the convolver. The library of concert halls and other hall impulse responses from Waves who include some originally from Angelo Farina is now so large that it occupies two DVDs. When running at 44.1 with a 2.0 input the computer load is only 39% so I may have overdone it. One can easily have up to 32 speakers using all 4 ADAT outputs. But basically what I have for the first time is a truly diffuse soundfield with a low IACC. That is, this is a sound field with at least some of the most important properties of a real concert hall. When you turn on the 26 speakers you get an enhanced sense of being there plus clarity, depth and realism in general. Since the Waves IRs do not really allow for partitioning the impulse responses to particular speakers, this system is not ideal, but I believe it can be shown that once a field is diffuse, but still with large interaural level and interaural time differences, most humans will accept the field as reasonably realistic even if it represents a concert hall that does not exist. One combines a selection of IRs from the same or similar halls to maintain the necessary diversity and prevent aliasing or monophonic impairments. Of course, now that I have done this it is clear that there are perhaps no more than three individuals in the world that would have the space, the skill, the money, and the love of classical music, to want to or be able to implement this. It is certainly not for solo electric guitar oriented stereophiles. However, I think serious music schools installing such a reproduction system would be able to evaluate their performances more realistically and conductors would be able to fine tune their technique etc. Getting the hall ambience this way certainly beats trying to record the hall during a performance and then delivering it via normal media along with the direct sound. Ralph Glasgal http://www.ambiophonics.org/ glas...@ambiophonic.org Note I have to use the Yahoo address because this list sofware does not like .org addresses. -------------- next part -------------- An HTML attachment was scrubbed... URL: <https://mail.music.vt.edu/mailman/private/sursound/attachments/20120707/45dada93/attachment.html> _______________________________________________ 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/20120709/393d232c/attachment.html> _______________________________________________ Sursound mailing list Sursound@music.vt.edu https://mail.music.vt.edu/mailman/listinfo/sursound
