Hello Juan, If you're at all familiar with the SuperCollider platform, I'd suggest you have a look at considering using the tools available in the Ambisonic Toolkit: http://ambisonictoolkit.net
Included are proximity filters and a variety of spatial distortion filters--all tailored to manipulate soundfields to musical ends. At the moment the ATK is "only" first order. (Handled well, FOA can be very suitable, particularly for the task you describe.) We are planning to begin adding HOA features in this coming spring. You can browse the (50+) help pages here: http://www.ambisonictoolkit.net/Help/Browse.html#Libraries%3EAmbisonic%20Toolkit And introductory page here: http://www.ambisonictoolkit.net/Help/Guides/Intro-to-the-ATK.html My best, ~~ Joseph Anderson Artist: http://joseph-anderson.org Ambisonic Toolkit: http://ambisonictoolkit.net On 14 Dec 2012, at 10:49 am, Juan Arturo Parra Cancino <jotapa...@hotmail.com> wrote: > > > > > > > > > > Dear all, a long time reader chiming in for the first time… > > > I work at the Orpheus Institute in Ghent, Belgium dealing with the > aesthetic/artistic aspects in Computer music practice. This is to say, that I > leave the technical research for my self and share/expose the > artistic/aesthetic concerns/considerations with my colleagues, who are not > (at all!) dealing with music technology issues. One of my current > fascinations is to expose and present the (illusion of) the transformation of > the physical space over time as a musical quality that is, if not unique, > quite relevant in electroacoustic music. Furthermore, I am working in a > series of projects (controller design, compositions) aimed to bring that > quality to the foreground by means of concert performance. My personal > experience as computer music performer and multichannel arrays has so far > been limited to real-time sound diffusion of fixed media (with and without > traditional live instruments in the nix) and spatialisation of DSP chains > over a fixed array (normally quad), like in Luigi Nono's "A Pierre". Now I am > looking to complete a piece for 8 instruments, each one of them generating > two 'ghosts', so a 24-piece 'ensemble', so to speak. At this point I would > like to kindly ask you your opinion on different real-time spatialisation > systems to generate movement illusions (height, distance) to add to the > straight forward discrete sound panning into the spatialisation control. The > catch? The speaker system that I have access to is an 8.1 setup, since I am > hoping to be able to perform and record this piece without having to > compromise too much in the venue-to-venue or media transfer. > > > Thanks for your time, and thanks for the years of good reading! > > > Juan Parra Cancino > Electronic Music Researcher > Orpheus Institute,Ghent, BE > www.orpheusinstituut.be >> From: tremb...@gmail.com >> Date: Thu, 13 Dec 2012 11:51:12 +0000 >> To: sursound@music.vt.edu >> Subject: Re: [Sursound] Proximity illusions - WFS vs HOA >> >>> 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 > > -------------- next part -------------- > An HTML attachment was scrubbed... > URL: > <https://mail.music.vt.edu/mailman/private/sursound/attachments/20121214/a2c9b69f/attachment.html> > _______________________________________________ > Sursound mailing list > Sursound@music.vt.edu > https://mail.music.vt.edu/mailman/listinfo/sursound -------------- next part -------------- An HTML attachment was scrubbed... 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