Can you give us more detail about these tests and perhaps put some of these natural recordings on ambisonia.com?
The type of soundfield microphone used .. and particularly the accuracy of its calibration ... makes a HUGE difference to the 'naturalness' of a soundfield recording. Some good examples of 'natural' soundfield recordings with loadsa stuff happening from all round are Paul Doombusch's Hampi, JH Roy's schoolyard & John Leonard's Aran music. Musical examples include John Leonards Orfeo Trio, Paul Hodges "It was a lover and his lass" and Aaron Heller's (AJH) "Pulcinella". The latter has individual soloists popping up in the soundfield .. not pasted on, but in a very natural and delicious fashion ... as Stravinsky intended. > Also to my experience, and that doesn?t seem to be a very popular view yet in ambisonic community, these parametric methods do not only upsample or sharpen the image compared to direct first-order decoding, but they actually reproduce the natural recording in a way that is closer perceptually to how the original sounded, both spatially and in timbre. > Or at least that?s what our listening tests have shown in a number of cases and recordings. And the directional sharpening is one effect, but also the higher spatial decorrelation that they achieve (or lower inter-aural coherence) in reverberant recordings is equally important. _______________________________________________ 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.
