Hey guys, Yes I think a lot of the latency comes from the Ableton - Max hookup through Jack. We tried Max standalone running ICST ambiencode/decode recently and had no problems.
I guess the worry is running a computer with Max over a long period of time without glitches, crashes.. Best Jake. Jake Williams +44 7932 645145 http://www.jakeone.co.uk http://www.fliesandflies.com On 17 Oct 2014, at 23:08, Anthony Palomba <apalo...@austin.rr.com> wrote: > Hey folks, > > I may be a bit late to joining this discussion. But I am trying to do the > exact same thing in Max. > Augustine, can you describe your setup? Are you encoding the audio in Max? > Where is the decoding being done? > > > -ap > > On Fri, Oct 17, 2014 at 4:44 PM, Augustine Leudar <augustineleu...@gmail.com >> wrote: > >> Thats weird because I use ambipanning for live shows all the time with up >> to 32 speakers and have no latency problems. The difference is though I >> just use them with Max not through ableton. Have you thought of having >> seperate audio channels coming out of your favourite Daw and just route >> them into audio inputs of max to be spatialised ? >> >> On 17 September 2014 06:52, Peter Lennox <p.len...@derby.ac.uk> wrote: >> >>> I'll be interested to hear about your progress. >>> >>> In the back of my garage, I have a zero-latency 8-way 1st order >>> encode-decode device (it even has a 4-way 1st order feed for subs). It's >>> wholly analogue, and we used it in Ambisonix Dance nights in the 90's. >> The >>> 4 outputs of an analogue desk passed into 4 inputs which were encoded as >>> front-left, front right, back-right, back left. Movement was crudely >>> achieved by simply cross fading across the buses in the desk. >> Additionally, >>> a through-route for B-format recordings (or indeed, the output from a >>> computer that was encoding to b-format) passed into the decode section of >>> the device. The device looks like some monstrous breadboard from Baron >> Von >>> Frankenstein's lab, bodged into an ex military 19" rack mount (so you >> could >>> stand an elephant on it, if need be- though we never called on this >>> particular facility). I think it might not pass PAT criteria today. >>> >>> If such a device seems rather crude and a world away from HOA - well, it >>> was. On the other hand, it never crashed. But an interesting point - I >>> never heard a club-goer complain about the lack of precision of phantom >>> imagery - focus, ensemble depth, apparent source width, any of those >>> things. It wasn't for electroacoustic concerts, or virtual reality. >>> >>> Years later, I had a student, Caryl Jones, carry out a study on potential >>> DJ tools for ambisonics. Unsurprisingly, perhaps, she found many of the >>> more subtle effects possible in ambisonics were wasted -and too >> cumbersome >>> to operate in real time by the DJ (even when she tracked down the >> hardcore >>> of intelligent DJs who wanted to experiment). Instead, simple to operate >>> and with maximum possible perceptual changes seemed to be the order of >> the >>> day - and most importantly, stuff that had (or could have) a 'musical >>> reason for existing' in the club context. >>> >>> Finally, in a series of experiments at the Glade festival, with Tony and >>> John of Funktion One, my collegue (Bruce Wiggins) and I experimented in >>> that context with a system that used F1's 1st order analogue >> encode-decode >>> chain, and Bruce's (2rd order)software chain, operating in parallel into >>> the 8 channel speaker array - again with a 4-way sub arrangement. That >> was >>> when we first heard John Leonard's "when geese go bad" recording over a >>> 40kW rig - result: Dinosaur-size geese. And in sound testing, the >> motorbike >>> recordings (from Soundfield's website) drove the council guys with their >>> sound level measuring gear bonkers - they couldn't work out where the >>> lunatic on the bike was. >>> The flypast of the spitfires wasn't bad, too. >>> >>> So, I'm saying that a solution that allows parallel processing, so that >>> some things can be quick-and-dirty, whilst others can be >>> precise-but-complex, might suit your needs? >>> Regards >>> ppl >>> 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 [mailto:sursound-boun...@music.vt.edu] On Behalf Of Jake >>> Williams >>> Sent: 16 September 2014 22:17 >>> To: Sursound@music.vt.edu >>> Subject: [Sursound] Low-latency, ultra-stable Ambisonics for club >> install? >>> >>> Hello everyone! >>> >>> I thought after the obligatory period of lurking and digging I'd raise my >>> head and say hello - and hopefully canvas some opinions from your wealth >> of >>> experience here. I met a few of you earlier in the year at the iX >>> Symposium in Montreal (I was doing the music for the live, improvised >>> full-dome / Ambisonic AV show Fragments). >>> >>> Though I have worked on multi-channel pieces before, Fragments was my >>> first foray into Ambisonics and since then I have been rather obsessed >>> (although my grasp of the science is still a little shaky). >>> >>> Anyways, to cut to the chase - I am now working on designing some effects >>> for a nightclub install - the idea being that there will be a subtle >>> spatialisation of the DJ FX over the 8 speakers using, hopefully, >>> Ambisonics. Basically I am researching the best way to do this. For >>> Fragments I used Ableton going into the ICST externals in MaxMSP, but I >>> can't get the latency low enough for a realtime, live signal without >>> glitching and instability (the audio was all inside Ableton for the show, >>> so a high buffer size was possible). The producers of the project are >> keen >>> not to use standard home computers, so I am looking for a rock-solid, >> very >>> low latency solution. What are your guys thoughts? From digging in the >>> archives (admittedly only as far back as 2011) I have identified some >>> different possibilities - >>> >>> 1. Ambdec on something running Linux >>> 2. HOA on something running PureData (maybe Linux again?) 3. Ambi-X on >>> Reaper (though this is only PC or Mac?) 3. Some sort of bespoke >>> microprocessor solution, maybe based on Ambisonic Equivalent Panning? >>> 4. Some sort of control over VCA faders in a quasi-analogue solution >>> (though I have seen posts about this where you guys are not keen :-) 5. >>> Has anyone run Ambisonics on a Kyma system?? >>> >>> We will be feeding live FX sends into the system to be spatialised in >> some >>> preset patterns in it's basic operational mode.. it will of course be >>> customisable for bespoke shows. >>> >>> Anyways if any of you have any input I would be very grateful :-) >>> >>> Cheers >>> >>> Jake >>> >>> >>> Jake Williams >>> >>> +44 7932 645145 >>> http://www.jakeone.co.uk >>> http://www.fragmentsav.com >>> >>> >>> >>> >>> >>> >>> >>> >>> >>> >>> >>> >>> -------------- next part -------------- >>> An HTML attachment was scrubbed... >>> URL: < >>> >> https://mail.music.vt.edu/mailman/private/sursound/attachments/20140916/d4347151/attachment.html >>>> >>> _______________________________________________ >>> Sursound mailing list >>> Sursound@music.vt.edu >>> https://mail.music.vt.edu/mailman/listinfo/sursound - unsubscribe here, >>> edit account or options, view archives and so on. >>> >>> The University of Derby has a published policy regarding email and >>> reserves the right to monitor email traffic. If you believe this was sent >>> to you in error, please select unsubscribe. >>> >>> Unsubscribe and Security information contact: info...@derby.ac.uk >>> For all FOI requests please contact: f...@derby.ac.uk >>> All other Contacts are at http://www.derby.ac.uk/its/contacts/ >>> _______________________________________________ >>> Sursound mailing list >>> Sursound@music.vt.edu >>> https://mail.music.vt.edu/mailman/listinfo/sursound - unsubscribe here, >>> edit account or options, view archives and so on. >>> >> >> >> >> -- >> www.augustineleudar.com >> -------------- next part -------------- >> An HTML attachment was scrubbed... >> URL: < >> https://mail.music.vt.edu/mailman/private/sursound/attachments/20141017/46aca795/attachment.html >>> >> _______________________________________________ >> Sursound mailing list >> Sursound@music.vt.edu >> https://mail.music.vt.edu/mailman/listinfo/sursound - unsubscribe here, >> edit account or options, view archives and so on. >> > -------------- next part -------------- > An HTML attachment was scrubbed... > URL: > <https://mail.music.vt.edu/mailman/private/sursound/attachments/20141017/33f6707f/attachment.html> > _______________________________________________ > Sursound mailing list > Sursound@music.vt.edu > https://mail.music.vt.edu/mailman/listinfo/sursound - unsubscribe here, edit > account or options, view archives and so on. -------------- next part -------------- An HTML attachment was scrubbed... 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