I agree. Time confusion in stereo(as generated by spaced omnis)
is far from being the same thing as spatially diffuse field sound.
This is the real reason stereo sounds wrong as far as I am
concerned. No offense to people who like "spatial music"
but the music I like happens in front. What does n
for me, this is where ambisonics (or surround sound) really comes in. we have
been recording dry (even with blumlein) and hoping the speakers at home will
create enough 'ambience' of some kind. one reason we are forced to do this is
because in the real world reverberation is three dimensional;
It is interesting how this more or less obvious point-
that localizing discrete sources and localizing all the(often multiple(
reflections that make up the whole spatial impression would be
one supposes related--has escapted the popular press especially
of the "High End" ilk.
They are all wound
On 04/18/2012 11:38 PM, Peter Lennox wrote:
I wasn't kidding! - the higher the order, the better you can
control spatial imaging / de-imaging.
I know we normally think that increased directional resolution
corresponds to improved pin-point images, but thinking of it the
other way around - in
I wasn't kidding! - the higher the order, the better you can control
spatial imaging / de-imaging.
I know we normally think that increased directional resolution corresponds to
improved pin-point images, but thinking of it the other way around - increased
directional resolution corresponds
On 04/18/2012 03:35 PM, Peter Lennox wrote:
No - HOA could be ideal for achieving spaciousness! - it can achieve that
decorrelation so much better...
ah, peter, how cold-hearted of you to slap the baby with a steak.
back to lurk mode... :)
--
Jörn Nettingsmeier
Lortzingstr. 11, 45128 Essen,
No - HOA could be ideal for achieving spaciousness! - it can achieve that
decorrelation so much better...
Dr Peter Lennox
School of Technology
University of Derby, UK
tel: 01332 593155
e: p.len...@derby.ac.uk
-Original Message-
From: sursound-boun...@music.vt.edu [mailto:sursound-bou
On 18/04/2012 13:55, Gregorio Garcia Karman wrote:
I reckon someone mentioned Stockhausen here but my enquiry is not
related to a piece by him but rather to his british homologous, ie.
one of the electronic music pioneers in England: Roberto Gerhard.
Unfortunately there is not much documentation
I reckon someone mentioned Stockhausen here but my enquiry is not related to a
piece by him but rather to his british homologous, ie. one of the electronic
music pioneers in England: Roberto Gerhard. Unfortunately there is not much
documentation available relating to this work, as the piece was
One thing that just occurred to me, given the fact that this is
related to a piece of Stockhausen's, is, maybe it's worth looking at
Stockhausen's writings in the original German from around this period
- could be just a (slightly strange) translation of something he
wrote...
Dave
On 18 Apri
That's achieving exactly the same sort of decorrelation I was talking about -
you can do it with very sparing use of artificial reverb (stereo, panned) as
well
Dr Peter Lennox
School of Technology
University of Derby, UK
tel: 01332 593155
e: p.len...@derby.ac.uk
-Original Message-
Fr
Hi
I am not sure if this is at all related to the same subject that you are
discussing,
but someone sometimes taught me how to reduce the spotness of a
single mono source when panned into the surround soundfield.
This is a problem when you do a surround mix from mono tracks,
the space avalibale
I wonder if it's not simply a matter of a stereo spread control as one would
get with an stereo to MS to stereo conversion, where in the MS state, one can
vary the width of the stereo signal.
If we don't assume that someone tries to spread a mono signal, but has a stereo
signal and is simply pl
Hi David, Peter,
David, I agree with your description of the problem, thanks for putting it in
nice words.
I also agree with Peter Lennox about the focused sound quality at one end and
the room-filling sensation at the other. It should be possible to perform a
continuos transition between bot
actually, to control "image size" (apparent source width), one must control the
interaural cross correlation rather finely, which in practice means controlling
(or varying) inter-channel cross correlation (though with surround sound -
ambisonic or otherwise, one actually has to control more spea
It's possible that the writer is using the word in the sense of 'a full
assembly', rather than in the scientific (or air-handling) sense.
Regards,
John
On 17 Apr 2012, at 21:26, Gregorio Garcia Karman wrote:
> Thanks for the inquisitive responses. The text was written in 1966 and
> belongs t
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