I think the way of numbering speakers is a slightly separate issue from the
AED values. Even if you have set ideal AED values for speakers - you still
have to say "Speaker 1" has an AED value of .... "Speaker 2" has an AED
value of etc etc you could still have differing AED values but with the
same numbering system - if you know what I mean ?


On 19 November 2016 at 19:22, Peter Lennox <p.len...@derby.ac.uk> wrote:

> maybe, with the help of a compass, we could standardise on cardinal points
> of the compass (but do we use true north or magnetic north?)
>
>
> Dr. Peter Lennox
> Senior Fellow of the Higher Education Academy
> Senior Lecturer in Perception
> College of Arts
> University of Derby
>
> Tel: 01332 593155
> ________________________________
> From: Sursound <sursound-boun...@music.vt.edu> on behalf of Augustine
> Leudar <augustineleu...@gmail.com>
> Sent: 19 November 2016 09:03:27
> To: Surround Sound discussion group
> Subject: Re: [Sursound] [allowed] Speaker numbering
>
> In theory it wouldnt be impossible to settle upon a standard regardless of
> what speaker configuration or technique was used during composition. At the
> end of the day the technician at the venue is not going to rewire the
> speaker array for each composition that decided it was going to use this
> that or the other numbering system. Its simply a matter of the technician
> saying "I use this numbering system" and you labeling your .wav / .aif
> files accordingly. So if you render 8 files - if your original speaker 5 is
> the technicians speaker 1 you number accordingly. I dont see there should
> be a problem in settling on a standard speaker array numbering sytem and it
> may make everyone's life simpler in the long run. Except for awkward
> bastards like myself using irregular speaker arrays of course - but who
> cares about them anyway.
>
> On 19 November 2016 at 08:55, Dave Malham <dave.mal...@york.ac.uk> wrote:
>
> > I don't think I would entirely agree that loudspeaker orchestras were all
> > "originally intended for diffusing stereo works". Mostly, yes indeed they
> > were, but particularly in the earlier days (1950's or before) the sources
> > were mostly mono (Pierre Schaeffer) or crudely linked (like the multiple
> > optical recorders used for Disney's Fantasia) multichannel. I think there
> > is something in the "stereo" thing but it's simpler than appearance of
> > loudspeaker orchestra diffusion or potentiometre d'espace based
> > systems (Jacques
> > Poullin) or whatever, it's just that by the 1960's stereo amplifiers were
> > widely available and many of us  used bunches of them rather than double
> > the number of mono units (one Quad 303 in place of two Quad II valve
> amps,
> > in my case at York). This leads almost automatically to going left-right,
> > left-right, left-right, left-right from front to back.
> >
> >     Dave
> >
> >
> > On 18 November 2016 at 16:24, Phi Shu <phi...@gmail.com> wrote:
> >
> > > and that's probably why there is no "standard," all the well known
> large
> > > arrays use proprietary systems.
> > >
> > > In contrast, so called loudspeaker orchestras - originally intended for
> > > diffusing stereo works - tend to apply the rationale of having multiple
> > > stereo pairs - mapped directly to individual faders - and I would guess
> > > it's for this reason that the numbering is as such in the second
> numbered
> > > sequence you posted; because an acousmatic composer who composes an
> > > octophonc work for that set-up can more easily present it, or even
> > diffuse
> > > it, in a setting that uses multiple speaker pairs.
> > >
> > > On Fri, Nov 18, 2016 at 3:54 AM, Augustine Leudar <
> > > augustineleu...@gmail.com
> > > > wrote:
> > >
> > > > Not really Gerard - there's plenty of techniques on spatial audio
> that
> > > dont
> > > > use decoders and have nothing to do with ambisonics.
> > > >
> > > > On 18 November 2016 at 00:46, Gerard Lardner <glard...@iol.ie>
> wrote:
> > > >
> > > > > Surely it must depend on the convention used in your decoder
> > software.
> > > > For
> > > > > example, Harpex-B uses
> > > > >
> > > > >         1  8
> > > > >       2      7
> > > > >       3      6
> > > > >         4  5
> > > > >
> > > > > for an 8-speaker horizontal ring, or
> > > > >
> > > > >         1  6
> > > > >       2      5
> > > > >         3  4
> > > > >
> > > > > for a 6-speaker ring, but VVMic uses
> > > > >
> > > > >         1  2
> > > > >       3      4
> > > > >         5  6
> > > > >
> > > > > Gerard Lardner
> > > > >
> > > > >
> > > > >
> > > > > On 16/11/2016 22:12, Augustine Leudar wrote:
> > > > >
> > > > >> How do you number you arrays - there seems to be two ways I've
> come
> > > > >> across.. Using the example of an octophonic array
> > > > >> The first way seems to be circular :
> > > > >>
> > > > >>    1   2
> > > > >> 8        3
> > > > >> 7        4
> > > > >>     6   5
> > > > >>
> > > > >> The other way is as follows :
> > > > >>
> > > > >>     1  2
> > > > >> 3       4
> > > > >> 5       6
> > > > >>     7  8
> > > > >>
> > > > >> There doesnt seem to be an standard way of doing this - I was
> > curious
> > > as
> > > > >> to
> > > > >> how other sursounders number their speakers ?
> > > > >>
> > > > >>
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> > > >
> > > >
> > > > --
> > > > Augustine Leudar
> > > > Artistic Director Magik Door LTD
> > > > Company Number : NI635217
> > > > Registered 63 Ballycoan rd,
> > > > Belfast BT88LL
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> >
> > --
> >
> > As of 1st October 2012, I have retired from the University.
> >
> > These are my own views and may or may not be shared by the University
> >
> > Dave Malham
> > Honorary Fellow, Department of Music
> > The University of York
> > York YO10 5DD
> > UK
> >
> > 'Ambisonics - Component Imaging for Audio'
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> --
> Augustine Leudar
> Artistic Director Magik Door LTD
> Company Number : NI635217
> Registered 63 Ballycoan rd,
> Belfast BT88LL
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-- 
Augustine Leudar
Artistic Director Magik Door LTD
Company Number : NI635217
Registered 63 Ballycoan rd,
Belfast BT88LL
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