> The problem is that the presence of a source that is clearly tied to a > physical speaker rather spoils one of the main advantages of field > reconstruction technologies like Ambisonics and WFS, namely that > individual speakers disappear, i.e. are not perceived as separate > sources.
Yes and that is what I do in my multichannel compositions... a real L-C-R on stage plus the diffused field on other streams that can be recoded independently (in 5.1 on the album but the more the merrier!) > ultrasonic interference Those I've heard have a sound quality that makes them unusable in musical context... > Reasonably fast moving > sources, at least in reasonable dry acoustics, can be made to seem to > "fly past" close to the listener, if both early reflections and > proximity effect are properly simulated, even on low order systems. Yes, but flying by is the 'demo' sound I heard in too many bad multichannel compositions... I am interested in space orchestration... Jörn demo'd here (Huddersfield's SPIRAL) a very interesting sturdy image that was scaling down elegantly, and I have since then been tempted to find a solution to use HOA for the 'chorus' and keep real points as protagonists... makes my work harder and the portability is less than ideal... so my question was more in the light of new Dolby standards and all, how we could have a format that allows both... let's say a minimum of LCR + quad for 1st order approx of the chorus? _______________________________________________ Sursound mailing list Sursound@music.vt.edu https://mail.music.vt.edu/mailman/listinfo/sursound
