Hi Richard,

The Ambisonic Toolkit includes an encoder that will take a set of directions 
and polar patterns and encode to FOA B-format.

The encoder is a simple "matrix only" encoding, and doesn't include coincidence 
correction and/or any other frequency dependent operations. As you'd expect, 
your results will vary depending on your microphone choices and arrangement. In 
particular, one issue you'll very likely experience is spatial aliasing 
beginning at mid-frequencies.

Despite this, and depending on what you're after, you can still get very useful 
and musical sounding results. Especially if you follow your initial encoder 
with a spatial imaging transform. (E.g.," focus", to focus images on the 
frontal stage. Or, you can similarly push reverberation towards the rear.)

See:

http://www.ambisonictoolkit.net
http://doc.sccode.org/Guides/Intro-to-the-ATK.html
http://doc.sccode.org/Classes/FoaEncoderMatrix.html#*newDirections
http://doc.sccode.org/Classes/FoaXformerMatrix.html#*newFocusX


Also worth having a look with some example recordings made by Daniel Courville, 
see:

D. Courville, "Comparative Surround Recording," Ambisonic Studio | Comparative 
Surround Recording, 2007. [Online]. Available: 
http://www.radio.uqam.ca/ambisonic/comparative_recording.html
[Accessed: 26-Jul-2011].


Hope this helps,


~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Joseph Anderson

j.ander...@ambisonictoolkit.net
http://www.ambisonictoolkit.net
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~



On 5 Mar 2015, at 8:39 am, Ricky Graham <ri...@rickygraham.net> wrote:

> Hi Everyone,
> 
> Does anyone have any experience recording B-Format with multiple microphones 
> set to specific polar patterns (i.e. if you don’t have access to an ambisonic 
> / tetramic?). Is it possible? If so, what are some of the issues / problems 
> with this approach?
> 
> Thanks,
> 
> Richard
> _______________________________________________
> Sursound mailing list
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