Hi Tom, Scaling 3D speaker setups to larger spaces is a challenging topic. If you are willing to consider hardware processing for the larger space, I could only encourage you to consider the L-ISA technology from L-Acoustics, that my team develops. It would tick almost all the boxes of your requirements: - software renderer to work in the studio on speakers or headphones (headtracked binaural) - hardware renderer for real-time, large-scale performances - it includes a "scale simulation" mode to anticipate issues you will face when in the larger space (timing issues, precedence issues, speaker coverage issues, etc.) - it is not Ambisonics based, but object-based - 3D panning and 3D room engine - DAW friendly with control plugins AU, VST, AAX, mac / windows. - Integrates with a 3D speaker design software (Soundvision) to accurately design your system for the larger space, including SPL coverage, timing metrics, localisation metrics.
Have a quick look at www.l-isa-immersive.com. You will find some more details on the technology, but also many stories relating to large-scale immersive audio projects, such as the Coachella festival, Panorama festival, the UAE National Day, the Tate Modern Turbine Hall, etc. I actually live in New Cross Gate (London), not far from your studio, happy to discuss your project further ! Guillaume Le lun. 24 mai 2021 à 14:59, Mikhail Pozdniakov <mike_...@hotmail.com> a écrit : > Hi Tom, > > I don't have anything useful to contribute on your set of questions, but I > did have a few for you: > > When mixing for this project, did you lie down on the floor of your studio > to check if the mix works? Going from standing to lieing down will > effectively make the listeners inhabit 2pi space with all the glories of > proximity effect on bass/lower mids and lack of rear reflections. > > Also, do you use those KEF 107s in your normal workflow? :) > > Thanks, > Mikhail > > ________________________________ > From: Sursound <sursound-boun...@music.vt.edu> on behalf of Tom Slater < > slater...@gmail.com> > Sent: May 24, 2021 07:52 > To: sursound@music.vt.edu <sursound@music.vt.edu> > Subject: [Sursound] Ambisonics for larger spaces > > Hi everyone, > > I have a project coming up that requires me to create a spatial mix of some > music and then transfer it to a much larger space. The details are: > > The space is circular with a 12m radius and a 3.5m ceiling. > > We can use a large number of speakers (48 or more) > > Budget is sufficient to consider all hardware processing options. > > The audience will be lying down to form concentric circles, facing the > ceiling. The outermost circle will be sitting with their back against the > wall slightly tilted up. (there is a visual element to the show that > requires this audience placement). > > I will be producing and mixing the music in my studio in which I have a > 25.2 dome-shaped speaker layout (8, 8, 4, 4, 1.2). See images of the studio > here https://callandresponse.org.uk/ > > I use the Blue Ripple suite of plugins and Rapture 3D Advanced decoder. > > When transferring mixes from my studio to other venues I usually build a 3D > model in Sketchup, design the speaker array for the venue and then extract > the cartesian speaker coordinates from the 3D Sketchup model, build a new > decoder in Rapture 3D Advanced and render a polywav for playback in the > venue. > > This has always worked well but I just wanted to see if there was anything > I could do to improve this method, particularly when transferring to > larger spaces. > > I read about this project at The Royal Danish Academy of Music > <https://www.digitalaudio.dk/page2169.aspx?recordid2169=1149> where they > used a DAD AX32 as a delay matrix to delay certain speaker channels to > create a virtual hemisphere. I guess they then build a bespoke decoder with > the same speaker positions as the virtual hemisphere and then render to > that. > > I'm particularly interested in the community's experience using hardware > delay matrices in conjunction with ambisonics. *OR *instead of ambisonics, > such as Meyer Galaxy processors and their Space Map Go system, D&B > Soundscape, etc. etc. > > I’m also very interested to hear experiences of using systems like SpaceMap > Go or D&B Soundscape in conjunction with your favourite DAW i.e. how well > have did they fit into your creative sound design and composition workflows > as studio tools? > > Thanks in advance everyone. > > Best, > > Tom > -------------- next part -------------- > An HTML attachment was scrubbed... > URL: < > https://mail.music.vt.edu/mailman/private/sursound/attachments/20210524/a701c436/attachment.htm > > > _______________________________________________ > 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/20210524/aa80ea61/attachment.htm > > > _______________________________________________ > 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/20210524/05f29970/attachment.htm> _______________________________________________ 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.
