Ha ! The essential precursor on writing on this list "Im sure someones going to rip me a new one but......" . I dont know about "correcting you" but I do beg to differ. Previously ambisonics was very hard to access and that may have contributed to it dissapearing to the private domain of a few enthusiasts and academics. However I believe this has no changed - with software like Spat, Wigware and ICST ambisonics has become more prevalanet than ever - in composition and sound design anyway. I know of at least 5 composers and sound designers who have used ambisonics in the last year as its so easy to integrate intpo your workflow/daw/maxmsp etc now - and you dont need an expensive hardware encoder/decoder etc - all you really need is a multichannel soundcard and a bit of callibration. However with its increased use the limits of what you can do with ambisonics has also been explored and its "myth" has been somewhat debumked - it has become one tool in the sound artists arsenal great for some things but not for others. For example if I want a sound to come from a particular tree - I will simply nail a speaker to it - no messing around with complex maths, recreating soundfields or looking donw my nose at Vbap - however for some "cloud like" effects and some panning I have found ambisonic very useful for filling in holes in the soundfield.....
If what I write below is incorrect then I am sure > somebody will correct me. > > Ambisonics (and UHJ) died in the 1980s. > What remains is a few enthusiasts. These > include a few radio producers who broadcast > programmes in UHJ, but they do so without the > support (and often without the knowledge) of > their various managements. Dolby MP would > be a poor choice for stereo transmission > because, unlike UHJ, it is not stereo > compatible. > > Looking at the equipment installed in people's > homes then the only surround format that > currently has a chance is 5.1. One problem is > lack of material. An example of what is > possible was the Hitch Hiker's Guide to the > Galaxy: The Tertiary Phase, broadcast by BBC > Radio 4/Above the Title Productions in 2004. > Two mixes were produced: Stereo and 5.1. > The stereo mix was broadcast via radio, > Internet, and CD. The 5.1 mix was broadcast > via Internet and DVD-Video. > > (I have "The Tertiary Phase" as 5.1 WMA files; > if anybody in interested in them contact me > off-list. I have never been able to play them.) > > The present state of play is that no national > broadcasting organisation is regularly > transmitting in surround. However, a number > of music radio stations are currently > broadcasting in 5.1. National broadcasting > organisations are investigating other surround > technologies, such as Ambisonics (BBC) and > 22.2 (NHK, BBC). > > Regards, > Martin > -- > Martin J Leese > E-mail: martin.leese stanfordalumni.org > Web: http://members.tripod.com/martin_leese/ > _______________________________________________ > Sursound mailing list > Sursound@music.vt.edu > https://mail.music.vt.edu/mailman/listinfo/sursound > -- 07580951119 augustine.leudar.com -------------- next part -------------- An HTML attachment was scrubbed... URL: <https://mail.music.vt.edu/mailman/private/sursound/attachments/20130514/abce7541/attachment.html> _______________________________________________ Sursound mailing list Sursound@music.vt.edu https://mail.music.vt.edu/mailman/listinfo/sursound
