Re: [Sursound] OT Stereo stage width - Was: Static stereo source in rotating soundfield, possible?

2016-04-02 Thread Dave Hunt

Hi,

I am not sure if it would make a lot of practical sense to re-map  
+-30º stereo recordings. (to +-45º etc.)


If a recording was made with a crossed cardioid pair of microphones  
(usually +-45 degrees or wider), or using sine/cosine panpots, it is  
now generally +-45 degrees re-mapped to +-30 degrees.


We can also analyze stereo with the loudspeakers at +/- 30  
degrees, and see that rE in the center is now 0.87, which is a  
significant improvement over 0.71 obtained with speakers +/- 45  
degrees. In general, with two speaker stereo, for sounds in the  
center, rE = cos(theta/2), where theta is the angle between the  
two loudspeakers.


If the two speakers were to have a separation of zero degrees, rE  
would be 1, a further "improvement". This is basically an argument  
for a centre speaker, or rather for a derived centre speaker as in  
Trifield.


Ciao,

Dave Hunt


From: Stefan Schreiber 
Date: 31 March 2016 17:20:20 BDT
To: Surround Sound discussion group 
Subject: Re: [Sursound] OT Stereo stage width - Was: Static stereo  
source in rotating soundfield, possible?



Aaron Heller wrote:

Marc Lavallée, Eric Benjamin, and I put together a Trifield (three  
speaker
stereo) plugin and demo'ed it a Burning Amp last fall. It is  
hosted at


  https://bitbucket.org/ajheller/trifield/overview

It is written in Faust so can be compiled for a number of  
different hosts,

but we provide precompiled VST plugins for Windows and MacOS in the
download folder.

There are also some plots that use Gerzon velocity and energy  
localization
vectors (rV and rE) to analyze, +/-45 deg stereo vs Trifield  vs  
+/- 30 deg
stereo that shed some light on why "the +/- 30 deg stereo  
triangle" works

well.



This is not a direct response, just an observation:

Wide stereo (so +-45, or +-60º deg) would easily be possible with L- 
C-R stereo, native recordings. (s. Gerzon,1990.)


However and in practical terms, 5.1 does most of the same.

I am not sure if it would make a lot of practical sense to re-map  
+-30º stereo recordings. (to +-45º etc.)


You basically say the same:

We can also analyze stereo with the loudspeakers at +/- 30  
degrees, and see that rE in the center is now 0.87, which is a  
significant improvement over 0.71 obtained with speakers +/- 45  
degrees. In general, with two speaker stereo, for sounds in the  
center, rE = cos(theta/2), where theta is the angle between the  
two loudspeakers.


But:
How can rV > 1 be true??! (second last image...)



Best,

Stefan

P.S.: I have always seen 5.1 as stereo + ambiance system, which is  
the historical development as well.


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[Sursound] Ambisonics for Android and also Oculus..

2016-04-02 Thread Albert Leusink

Hello all,

Coming soon, to a phone near you !:

https://storage.googleapis.com/jump-inspector/Jump_Inspector_Quick_Start.pdf

There will definitely be many user complaints initially due to
misunderstandings as it uses ACN/SN3D ordering and 99% of all the tools (VST
plugins etc..) currently used by the VR community are FuMa / .AMB based...

To add to that confusion, Oculus has just updated their Gear VR video player
specs to accept FuMa first order

I'm sure you have all had this discussion many times over, but what, if any,
are the advantages of 1st order ACN over FuMa?

>From what I've gathered, ACN was initially proposed as it would allow bigger
file sizes but I don't think that really applies to mobile phones in this
case...doesn't it only make sense to have ACN beyond 3rd order?



Have a good weekend,


Albert





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