> I think this represent an inversion which can perhaps best be > characterised by the difference between pointing a speaker towards a > listener.... and pointing it away from the speaker.
I meant to say ... (although my point is perhaps lost now) ... I think this represent an inversion which can perhaps best be characterised by the difference between pointing a speaker towards a listener.... and pointing it away from the *listener*. Etienne > By pointing the > speaker towards the listener, spatial reproduction is suggested ... by > pointing the speaker away from the listener the existing space is > suggested (and the speaker becomes equivalent to an instrument). > > Interesting to consider the two at once ... ! > > Etienne > >> If one is simply wanting an omnidirectional speaker, then the type normally >> used for frequency sweeping for room response measurements is fine. Indeed, >> since speakers are increasingly omnidirectional with decreasing frequency, >> then, arguably, if one is not requiring the precision-for-room-measurement, >> you could just use a sub and a much smaller multiface speaker. If you don't >> need up-down as much as 360 horizontal, the problem is simpler still. >> >> But if you'd actually like control of directivity, then you're after >> something else - a kind of 'inside-out' surround rig. We cobbled something >> together in the '90s at York, simply using ambisonics wrongly - we put eight >> speakers in a tiny ring facing outwards (so, horizontal only).- we wanted an >> 'object projection' system that could display what I called (mostly to >> irritate audio engineers) "facingness". It worked quite nicely, actually. >> >> Later, at Derby, we used the same thing but just with 4 speakers, in the >> centre of a 2nd order ring, so we could have inside and outside, as it were >> - and even use the outside to provide the reverb and the inside to provide >> the object - which could 'spin'. We even had partial success in making a >> phantom object travel between centre and periphery. >> >> We don't get much time for such idle playing now, but for performance use it >> was quite an interesting tool, giving a kind of spatial perception not >> normally engendered by sound field reproduction systems. >> >> If you've got space, time and amps, it's easy enough to play with >> cheers >> >> >> >> Dr. Peter Lennox >> >> School of Technology, >> Faculty of Arts, Design and Technology >> University of Derby, UK >> e: p.len...@derby.ac.uk >> t: 01332 593155 >> >> -----Original Message----- >> From: sursound-boun...@music.vt.edu [mailto:sursound-boun...@music.vt.edu] >> On Behalf Of etienne deleflie >> Sent: 22 October 2012 01:34 >> To: Surround Sound discussion group >> Subject: [Sursound] Uses for spherical speakers >> >>> Such a thing was offered for sale for consumers by DBX(as I recall) a >>> long time ago. I do not think it had much success--not surprisingly >>> since there is no real reason to want such a thing. >> >> I too was thinking that I couldn't see much use for a spherical speaker... >> other than in perhaps purely technical endeavours. >> >> But, as it happens, I've just been reading a book chapter (1965) by Henry >> Brant called "space as an essential aspect of music composition". For those >> who don't know ... Brant used spatial separation of performers in orchestral >> works. (similar line to Charles Ives ... John Cage used similar techniques >> too ... as did many others). >> >> On page 236 Brant considers the use of loud speakers for locations where >> performers cant be placed ... but he criticises the characteristics of >> loudspeakers as being so directional that they project very poorly within >> the performance space. So there's at least one use for spherical speakers! >> >> Of course this perspective on spatial music, in which existing spaces are >> used to affect sounds, is very different to the concerns of spatial music on >> this list ... which is more concerned with either the creation of virtual >> realities through spatial audio, or the re-projection of recorded sounds >> with spatial fidelity. >> >> Etienne >> _______________________________________________ >> 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 > > > > -- > http://etiennedeleflie.net -- http://etiennedeleflie.net _______________________________________________ Sursound mailing list Sursound@music.vt.edu https://mail.music.vt.edu/mailman/listinfo/sursound
