Hi,
Yes it was interesting and enjoyable, mostly due to interactions with
others. It attracted a good turn out, with interesting and interested
attendees.
Since hearing of this presentation I've played with the ideas with
Max/MSP, helped by the manual for ViMic and a bit of web-based maths
education, so had a pretty good idea what to expect.
I didn't bother trying to sit in the centre and operate it myself.
There were too many people for that, but could clearly hear it
working from the fringes of the speaker circle and outside it. There
seems to be no more precision about it than first order ambisonics.
That can also be a bit lumpy when panning around a circle of
loudspeakers unless they are well set up in a good environment.
It can obviously be extended to include height. Although higher order
microphones are nearly unachievable physically they are achievable in
software, so more channels and more loudspeakers are possible for
spatial synthesis. It does use spaced microphones to produce
something related to head acoustics, something I've always had
reservations about, largely because one is going to listen with one's
own head.
I had noticed that panning a sound to centre results in it being at
the back of all the microphones, and suggested to Zoran that this
could be fixed by pointing the array inwards, which works nicely in
synthesis where the microphones cannot mask each other.
I've also experimented with widely spaced and irregular microphone
arrays, as microphone and speaker are basically analogous in this
case. I suppose really one should be able to control the order of the
loudspeaker radiation pattern, not easy. Very difficult to make
smooth, but there are possibilities.
Ciao,
Dave Hunt
From: Jon Honeyball <j...@jonhoneyball.com>
Date: 14 January 2015 08:59:19 GMT
To: Surround Sound discussion group <sursound@music.vt.edu>
Subject: Re: [Sursound] AES London Lecture
It was an interesting presentation. The demonstration was not wholly
convincing, I have to say — (a bongo drum sound that you could
manually
steer around the horizontal sound field) I think I have heard better
surround from normal ambisonics. A claim for this system is that it is
more convincing away from the “sweet spot”. Again, on the demo, I
wasn’t
particularly convinced, with notable collapse and fail-over from one
speaker to the next especially from 90 degrees to 180 degrees. In
fairness, it wasn’t a particularly easy demo environment, with a
lot of
people in the room. In a more purist test, it might well do better?
As I said, interesting and well worth attending, despite the
limitations.
And, my goodness, doesn’t Kings College have *dreadful* internal
signage?
Trying to get out turned into an episode of a maze game.
jon
On 31/12/2014 17:52, "Aaron Heller" <hel...@ai.sri.com> wrote:
On Wed, Dec 31, 2014 at 3:20 AM, Dave Malham <dave.mal...@york.ac.uk>
wrote:
I wonder how closely this is related to the paper he was one of the
authors
of at the 2010 Ambisonics Symposium? Anyone have it handy?
Here's the URL:
http://ambisonics10.ircam.fr/drupal/files/proceedings/poster/
P6_41.pdf
Also an IEEE paper from 2013
http://ieeexplore.ieee.org/xpl/articleDetails.jsp?arnumber=6508825
This paper presents a systematic framework for the analysis and
design of
circular multichannel surround sound systems. Objective analysis
based on
the concept of active intensity fields shows that for stable
rendition of
monochromatic plane waves it is beneficial to render each such
wave by no
more than two channels. Based on that finding, we propose a
methodology
for
the design of circular microphone arrays, in the same
configuration as the
corresponding loudspeaker system, which aims to capture inter-
channel time
and intensity differences that ensure accurate rendition of the
auditory
perspective. The methodology is applicable to regular and irregular
microphone/speaker layouts, and a wide range of microphone array
radii,
including the special case of coincident arrays which corresponds to
intensity-based systems. Several design examples, involving first and
higher-order microphones are presented. Results of formal
listening tests
suggest that the proposed design methodology achieves a performance
comparable to prior art in the center of the loudspeaker array and
a more
graceful degradation away from the center.
Le 31 déc. 2014 à 00:08, John Leonard <j...@johnleonard.co.uk> a
écrit :
This looks interesting:
Upcoming Lectures
London: Tuesday 13th January
Perceptual Sound Field Reconstruction and Coherent Synthesis
Zoran Cvetkovic, Professor of Signal Processing at King's College
London
Imagine a group of fans cheering their team at the Olympics from a
local
pub, who want to feel transposed to the arena by experiencing a
faithful
and convincing auditory perspective of the scene they see on the
screen.
They hear the punch of the player kicking the ball and are
immersed in
the
atmosphere as if they are watching from the sideline.
Alternatively,
imagine a small group of classical music aficionados following a
broadcast
from the Royal Opera at home, who want to have the experience of
listening
to it from best seats at the opera house. Imagine having finally a
surround
sound system with room simulators that actually sound like the
spaces
they
are supposed to synthesise, or watching a 3D nature film in a home
theatre
where the sound closely follows the movements one sees on the
screen.
Imagine also a video game capable of providing a convincing dynamic
auditory perspective that tracks a moving game player and
responds to
his
actions, with virtual objects moving and acoustic environments
changing.
Finally, place all this in the context of visual technology that is
moving
firmly in the direction of "3D" capture and rendering, where
enhanced
spatial accuracy and detail are key features. In this talk we will
present
a technology that enables all these spatial sound applications
using
low-count multichannel systems.
This month's lecture is being held at King's College London, Nash
Lecture Theatre, K2.31, Strand, London, WC2R 2LS. 6:30pm for 7:00pm
start.
I'll be there if I can.
John
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From: John Leonard <j...@johnleonard.uk>
Date: 14 January 2015 11:40:50 GMT
To: Surround Sound discussion group <sursound@music.vt.edu>
Subject: Re: [Sursound] AES London Lecture
Agreed - some interesting ideas, but there seemed to have been a
bit of a lack of research in some areas: no knowledge either of
Harpex or the work that Richard Furse (hello Richard, sorry I had
to dash off) has been doing. And the demo material was not exactly
comprehensive: I must admit I'd hoped for something more than what
was effectively manipulation of a point source around a speaker
array from a single seat, given the claims for a wider sweet spot.
One of the highlights of the evening, having finally emerged
blinking from the maze of twisty little passages, all looking the
same, was finding a female a cappella group taking advantage of the
rather nice acoustics by having an impromptu rehearsal in the main
entrance hall. That would have been a surround recording worth making.
Good to see some old friends, Tony Faulkner, Peter Mapp and Tony
Waldron (ex-CADAC) and to make some new ones, so definitely worth
going.
Regards,
John
Please note new email address & direct line phone number
email: j...@johnleonard.uk
phone +44 (0)20 3286 5942
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