Re: [Sursound] audio point / audio plenum

[Dave Malham]

Is there a date on this? Sounds very much like Ambisonics and the Gerzon 
spreaders to me...

Dave

On 08/05/2012 00:26, Gregorio Garcia Karman wrote:

Hi Sursounders, just bumped into a reference that I had forgotten and that may 
help to clarify the point/plenum question. In one of his notebooks Gerhard 
refers to a demonstration given by Raimond Raikes from the department of Drama 
of the BBC in the following way:

"the possibility of locating sound in a concrete point of three-dimensional space; 
of making it come nearer or move away at will; so that it moves across the auditive field 
from right to left or viceversa, as an actor crosses the stage; and above all, the 
extraordinary effect of the _spread_ of sound, which, from a central point, one can 
extend over the entire auditive field: these are not simply tricks: in my opinion, they 
constitute a new 'dimension' [...]."

What sound location technique could have been presented at the BBC to Gerhard 
by Mr. Raikes?

again huge thanks for your comments!

G
On 20.04.2012, at 00:17, Gregorio Garcia Karman wrote:


Hi all

huge thanks for all your comments, the conversation developed in various 
different directions but there were quite inspiring ideas, at least for me. 
Particularly I found quite interesting the discussion on decorrelation, and I 
loved the trick of re-recording a sound with a loudspeaker and a stereo pair.

Richard, I agree, I would also expect Gerhard to have a specific meaning in 
mind, something he would have bumped into somewhere. He was just starting to 
get familiar with stereophony, perhaps he was just thinking of MS image control 
or reverberation... I don't discard something in direction of the PS22 either. 
Does anyone know if this process could have been common in the mid 60s BBC to 
'upgrade' mono recordings?

Just thinking aloud, another trail might be american experimental music, i.e. 
some spatialisation gadget that e.g. someone like gordon mumma could have put 
together and Gerhard became familiar with during his visits to the EEUU. He was 
a curious man.

I'm not sure I understand what you mean by primary and environmental sound 
though...

Gregorio Garcia Karman



On 19.04.2012, at 23:25, dobson richard wrote:


I hope "plenum" is not simply being treated as  simply synonymous with
reverberation. I am not privy to the Gerhard materials being worked on, but
I would expect him to have some specific, maybe related, but distinct
meaning in mind. My guess is that it would relate to the primary sound
itself, rather than environmental effects (real or otherwise). The melody
as distinct from the accompaniment, so to speak.

Richard Dobson

On 19 April 2012 19:46, Ronald C.F. Antony  wrote:


On 19 Apr 2012, at 19:53, Martin Leese
wrote:


umashankar mantravadi
...

apart from
clean reproduction of reverberation, i note the speakers do not have to

put

out much power - compared to the same recording converted to stereo and
played from a conventional pair of speakers. is this a dataset that

could

sell ambisonics?

The same was true of the Hafler circuit (which
I used for 18 years), so it is unlikely to be the
"killer app" that sells Ambisonics.

For those unfamiliar with a Hafler circuit, see:
http://members.tripod.com/martin_leese/Audio/HaflerCircuit.txt

Class D amps, done properly, are both very high-fidelity, and about an
order of magnitude more power efficient, than e.g. a Class-A amp.
Unfortunately, the Audio snake-oil sales people manage to convince
customers that unless you can fry eggs on your amp and it has a 2
square-foot, half-inch-thick brushed aluminum front plate, it's not a
he-man amp...
...so reduced power uptake is not going to sell Ambisonics, at least not
in the traditional audiophile circles. Maybe a green-audio angle could be
used to get a different sort of clientele excited and asking about
Ambisonics.
And of course, a green/alternative/acoustic/folksy kind of audience might
also appreciate a more realistic ambience of corresponding music than the
typical classic-rock or multi-mic-classical-music enthusiasts.

Ronald
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--
 These are my own views and may or may not be shared by my employer
/***

Re: [Sursound] Thanks Haig (and a note of pitch perception)

[Aaron Heller]

In the May JASA Express Letters:

Aronoff, et al., "Cochlear implant patients’ localization using
interaural level differences exceeds that of untrained normal hearing
listeners"

Bilateral cochlear implant (CI) patients are unable to localize sounds
as well as normal hearing (NH) listeners (Grantham et al., 20074;
Majdak et al., 20118). NH listeners rely on interaural time
differences (ITDs) and interaural level differences (ILDs) to localize
sounds. However, bilateral CI users have considerable difficulty using
ITDs to localize (Aronoff et al., 20102), indicating that their
localization abilities are primarily or exclusively based on ILDs.

access is free
 http://asadl.org/jasa/resource/1/jasman/v131/i5/pEL382_s1?view=fulltext

--
Aaron Heller (hel...@ai.sri.com)
Menlo Park, CA  US
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[Sursound] "Digital Amplifiers" (Multichannel Amps with ADAT input)

[D. Sen]

Anyone know of multichannel power amps with ADAT inputs?

I think one of the WFS rigs at TU-Berlin were using these - but they may 
have been custom made.


Thanks,
Deep
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