d and I presented at a conference last year:
https://www.researchgate.net/publication/336983923
Please let us know if you use Mosca in any projects!
All the best,
Iain Mott
Iain Mott
https://escuta.org
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on, a code interface and many other changes and bug fixes.
The home page for the project is here: http://escuta.org/mosca
A video tutorial is available here: http://escuta.org/moscavideo
The git source is here: https://github.com/escuta/mosca
All the best!
Iain Mott
--
_
Iain
ado/audio-map.html
and other ambisonic resources here:
http://escuta.org/en/projects/research/ambiresources.html
Please let me know if you have any suggestions or discover any problems.
All the best,
Iain
--
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Iain Mott
http://escuta.org
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Can't remember the price but the Crown CT8150 is very good. Has balanced
inputs and does 125W into 8 ohms. Only eight channels, but is very slim
and rack mountable so 4 units won't take up much space:
http://www.crownaudio.com/en-US/products/ct-8150
Iain
Em Dom, 2015-12-27 às 00:55 +, Augus
John Dack made an English translation of the guide which is excellent.
It's probably available online somewhere, but if not, you could email him:
http://www.mdx.ac.uk/about-us/our-people/staff-directory/dack-john
Em 21-11-2015 13:11, Marc Lavallée escreveu:
Thanks Ero for the reference. The c
to my shoulders.
> The far left effect was on my left shoulder and the far right effect was on
> my right shoulder. When something moved across the stage in front of me, it
> sounded like it slid along my forehead but was never "out in front".
>
> Is this what most people shou
hi list,
Sending a link with some binaural theatre mixes I'm making with the
Soundscape Renderer together with Pd, jconvolver, Ardour 3 and lots of
patching in jack. The content of the recordings is all in Portuguese.
There are some details on the page - but to elaborate a little, Pd
serves as a g
Em Wed, 2014-03-19 às 20:21 +, Fons Adriaensen escreveu:
> Another approach would be to sent W only (at reference level)
> to the decoder, and then measure each individual speaker (by
> soloing it, ambdec provides the function) and adjusting for
> reference SPL - 10 * log(number_of speakers). T
Em Tue, 2014-03-18 às 19:52 +, Fons Adriaensen escreveu:
> On Tue, Mar 18, 2014 at 03:32:55PM -0300, Iain Mott wrote:
>
> > Thanks a lot Fons. When I pan pink noise with at W at -20dBFS RMS, the
> > individual X and Y channels peak at about 3dB higher. Is that why you
&g
Em Tue, 2014-03-18 às 15:32 -0300, Iain Mott escreveu:
> For my current purposes, I'd like to reproduce as best as possible,
> ambiental b-format recordings over an array of speakers - and
> preferably
> try to match SPL measurements taken at each recording location. Do you
&g
Thanks a lot Fons. When I pan pink noise with at W at -20dBFS RMS, the
individual X and Y channels peak at about 3dB higher. Is that why you
said to meter at 86dB and not 83?
It's curious this thing about the summing of channels. When I first read
about k-system monitor calibration, I understood,
Hello,
I've been reading about how to calibrate monitors with Bob Katz's
k-system. Using the SPL meter method, I understand that each channel can
be fed a -20dBFS band-limited pink noise signal - and each loudspeaker
output adjusted to read 83dB SPL in the meter (or some other desired
level). Thi
> > one. The above got me thinking though, if it is a simple sum, wouldn't
> > it be possible to simulate the variable orientation of a speaker (human)
> > by doing an equal power crossfade between adjacent angular IRs as this
> > virtual human speaker turns?
>
> That is mathematically not correc
re. the second question - sorry, i realise what would be needed would be
a series of IRs for various angles produced in advance, perhaps by an
equal power summing. Using all these IRs would be a more complex
proposition.
iain
Em Fri, 2013-11-01 às 11:14 -0200, Iain Mott escreveu:
> hello l
a simple sum, wouldn't
it be possible to simulate the variable orientation of a speaker (human)
by doing an equal power crossfade between adjacent angular IRs as this
virtual human speaker turns?
Am I oversimplifying?
Thanks,
Iain
--
Iain Mott
h
broadcasting?
Iain
Em Dom, 2013-05-12 às 18:23 +0300, Eero Aro escreveu:
> Iain Mott wrote:
> > I wonder if people on the list have
> > other references or links on ambisonics applied in theatrical
> > productions, either traditional theatre or theatrical installation?
>
have examples of binaural
radio-drama.
Thanks,
Iain
--
Iain Mott
www.audiocena.com.br
www.reverberant.com
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Em Sáb, 2013-05-04 às 17:46 -0400, Matthew Palmer escreveu:
> http://vimeo.com/65229978#at=5
>
> imagine using the oculus & a kinect to be able to assign 3 directional
> information to sounds to make music, virtual speakers corresponding to real
> ones, hand is a brush
> -- next part -
> There is one more refinement you could use to limit the amount of
> CPU use. Of course the IRs for different source directions will be
> different. But the *signficant* differences are only in the first 100
> ms or so. In many cases the 'tail' of the reverb will sound just the
> same even if the
2013-05-03 às 19:23 +0300, Sampo Syreeni escreveu:
> On 2013-05-03, Iain Mott wrote:
>
> > Theoretically then, for a given listening position (for which we
> > position a mic in order make impulse responses), if we make impulse
> > responses for every possible location in the
interpolate
> between them - but frankly it might be better to build models based on
> the recorded IR's and/or room plans and then then synthesise the IR's.
>
>
> Dave
>
> On 3 May 2013 11:00, Iain Mott wrote:
> Hi list, I wonder if someone could clea
frequencies it has due to air
> absorbtion of sound frequencies with shorter wavelengths. Also the
> reverberation to soundsource ratio will be higher than for more
> distant objects. These are psycoacoustic effects though so excuse me
> if my answer is not relevant.
>
> On 3 May
Hi list, I wonder if someone could clear up some doubts I have:
Does an ambisonic impulse response recorded in a space, with microphone
and impulse source at specific locations, reproduce any distance cues
when convolved with an anechoic mono source and decoded ambisonically
over a speaker array,
the worm-mic reminds me of this installation in Brazil "Som da
terra" (sound of the earth) at the garden/gallery "Inhotim" - it's by
American artist Doug Aitken - where 5 mics are lowered 202m down into
the earth. Here's a video showing the installation and an EV re20
protected in a plastic water b
Here's my binaural haircut from 1999/2000:
http://reverberant.com/cl/video.htm
Iain
Em Sex, 2013-02-01 às 11:34 +, Peter Lennox escreveu:
> 1983 was the first binaural haircut I heard. It was billed as "Holophonics",
> I think, but really it was binaural - I think (glad to be corrected if
Dear list,
I'm sending a link for some video documentation of my installation with
Simone Reis as well as Nelson Maravalhas, Alexandre Rangel and others:
"O Espelho" (the mirror), which is now on show in the Federal District
of Brazil.
Please see the first video on this page:
http://reverberant.
> do i understand correctly that the listener will be sitting on this very
> off-center chair for most or all of the performance? i'm asking because
> ambisonics won't perform at its best so far out from the sweet spot.
> you seem to have adjusted the delays already to this position, right?
Yes
>
> Quite a challenge I'd say, in particular if those voices have to
> come near to the listener. With most the speakers at larger distance
> you'll need a room that is quite 'dead' by itself, and then synthesize
> the interaction of a virtual room and the voice.
>
> Would there be any way to mo
#x27;ve been trying to
keep costs down - the other two channels of this 8 channel sound card
are being used for other things).
Cheers and thanks for your attention,
iain
On Thu, 2012-02-16 at 22:14 +0100, Jörn Nettingsmeier wrote:
> On 02/16/2012 09:59 PM, Iain Mott wrote:
> > On Thu, 20
On Thu, 2012-02-16 at 20:34 +, Fons Adriaensen wrote:
> On Thu, Feb 16, 2012 at 06:22:15PM -0200, Iain Mott wrote:
>
> > To clarify, for a 6-speaker 2d array - ambdec can decode at maximum, the
> > following inputs (3rd order horizontal, 0 order height): W X Y U V P Q
> > When ambi_encode is set to 4th and 5th order, it has 9 and 11 output
> > channels respectively in 2D. I'm not sure how these should be named.
> > Can ambdec decode higher than 3rd order on the horizontal plane? When I
> > try a "new configuration" in ambdec it seems to offer only as high as
>
>
> One more thing: if you can go up to 3rd order or higher you may
> prefer that to VBAP, in particular for moving sources.
>
Thanks for the suggestion - actually I was only using 2nd order encoding
because I'd been unable to get the higher orders to work (using
ambi_encode from iem-ambi). Look
Thanks a lot Fons. Re. near-field compensation, I'm guessing it wouldn't
hurt to keep this enabled in ambdec when combining with vector-panning.
Is this correct?
Cheers,
Iain
On Thu, 2012-02-16 at 10:09 +, Fons Adriaensen wrote:
> On Thu, Feb 16, 2012 at 07:35:16AM -0200, Ia
Dear list,
I'd like some advice on implementing gain and delay compensation for an
irregular speaker array with a listener in a fixed position. This
probably is a question for Fons Adriaensen if he is here, as it concerns
a hybrid ambisonic/vector-panning system using ambdec:
I am combining in t
Dear list,
I need to simulate the acoustic of a small farm house. I'm lookng for a
B-format impulse response. Can anyone please suggest a public-domain
source for this? Unfortunately I don't have access to a b-format /
a-format mic to make my own.
The type of room i'd like to simulate has a woode
There's also his article on generating ambisonic impulse responses with
a single omni mic in 7 locations - might be relevant?:
http://pcfarina.eng.unipr.it/Public/Papers/113-ICA98.PDF
There is a fortran utility written to convert the 7 mono impulses into
B-format.
cheers,
iain
impulses On Mon,
ng
some milliseconds off the beginning of a complete IR with an appropriate
envelope? How many msecs? Just the rising part of the impulse?
Good luck finding a new home!
Cheers,
Iain
On Sat, 2011-06-04 at 22:02 +, Fons Adriaensen wrote:
> On Fri, Jun 03, 2011 at 09:11:35AM -0300, Iain Mot
i, 2011-06-03 at 17:47 +0200, Jörn Nettingsmeier wrote:
> On 06/03/2011 02:11 PM, Iain Mott wrote:
>
> > Is convolution reverb a possibility for a moving source - eg. is it
> > possible to cross-fade between the inputs of ambisonic IRs set up in
> > jconvolver recorded
n a room - so that she appears to be walking (and talking)
through the space in relation to a seated listener.
Cheers,
Iain
--
Iain Mott
www.reverberant.com
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