Thanks Bo-Erik.
For clarification, I was assuming moving objects around the space. I
imagine updating the delay lines would cause somewhat erratic pitch shifts
amongst each speaker, I guess dependent on the size of the array, these
would be larger or smaller.
Could be an idea to limit the speed t
I suspect that for a slow moving person among stationary sound subjects,
you really have to have perfect pitch to notice the pitch change.
If you have high speed moving objects like cars or trains... the listener
probably can be considered standing still in comparison to the object.
Dependant on w
Sorry, just to expand on that. I think it's interesting to note that the
doppler shift implies there is a listener that is experienced the effect.
In this setup, using DBAP with delays, we're implying that the loudspeaker
is acting as a sort of 'listener': i.e, the pitch shift at each speaker
woul
Hey Jonathon and Richard,
Just to expand on the doppler stuff: a doppler shift would occur as the
delays are changed at each crosspoint's delayline. So as the source moves
further from a speaker and the delays are updated, the pitch should lower.
Here is a resource you can check out:
https://www.d
Hi Jonathan,
Thanks for pointing this out - yes, it a delay for each source at each speaker.
This might have been what was confusing Ralph.
Maybe some context would help. Control is from a mobile device, which sends 3D
coords to a Mac/PC server. A DAW or multi-channel Wav file plays 32 channels
Hi Richard,
Very interesting. So there would be a delay consideration per source, not per
speaker. Is this already written into the DBAP algorithm or any pan law at
that, or do you manually implement. If so, how?
By the way, in much the same line of thinking, if this gunshot were moving,
would
Sorry, slow reply Ralph. The way I see it - focus on the virtual source,
not the listener position. Wherever the virtual source is positioned in
an installation, make the speakers respond as if there was a real source
at the virtual source position. If there was a gunshot at the virtual
source
Richard Foss, I still don’t get it, sorry. Perhaps I’m being obtuse. But to
clarify, you said:
>>> for a particular real source
>>> channel, delay its play out from a speaker FAR from the virtual source
>>> LONGER than from a speaker CLOSE to the virtual source
(capitalization mine). Why do you
Hi Richard,
I have to admit I am slightly confused by your response and wonder if what
we are both referring too as time alignment and even DBAP are the same
thing. However I am quite distracted at the moment I am currently working
on my next installation so don't really have time to giver this th
Ralph, I'm thinking of an installation context, where there are many
listening positions. If a person is standing close to a speaker that is
some distance from the position of a virtual sound source, you would
want an appropriate delay in the playback of the sound source from the
close by speak
Hi Richard
Just arranging nephew flighrs will reply in due course
On Monday, 19 August 2019, Richard Foss wrote:
> Just catching up on your comment about time alignment with DBAP, Gus.
>
> I do think its useful to use delays - so for a particular real source
> channel, delay its play out from a
I believe this is backwards. For a given listening position, the *closer*
speaker should be delayed if you want its output to arrive at the same time as
that from a farther speaker.
Richard Foss wrote:
>
> Just catching up on your comment about time alignment with DBAP, Gus.
>
> I do think it
Just catching up on your comment about time alignment with DBAP, Gus.
I do think its useful to use delays - so for a particular real source
channel, delay its play out from a speaker far from the virtual source
longer than from a speaker close to the virtual source. With DBAP the
source channe
By the way Jonathan,
If I were you Id stick with Spat - its probably the most flexible and
advanced of all spatial audio packages and worth working through the
learning curve- Ive been thinking of swapping over to it for quite a while
myself !!
On Sun, 18 Aug 2019 at 18:23, Augustine Leudar
wrote
Well DBAP is just amplitude panning on irregular speaker arrays the ones
ive used it didnt reall matte rwhat direction the speaker was pointing.
Im not sure if Spat specifies speaker directions but if I remember when
Thibaut Carpentier came to Sarc he did show us some flashy spatial reverbs
that
On 8/18/19 4:26 AM, Augustine Leudar wrote:
also you could use rew to eq each individual speaker.
For eq'ing speakers I use DRC (Digital Room Correction), it is free
software. Once you have measured impulse responses it will create
filters that eq the speakers, tons of parameters to tweak if
Thanks so much Augustine! I’m actually taking a lot of existing 3d signals and
trying to squish them into this irregular 12 channel setup. HOA and 7.1 mostly
as well as signals from Sound Particles so SPAT Revolution has been helpful
(though ICST looks amazing), even though Im not automating mov
also you could use rew to eq each individual speaker. There's not much
point time aligning DBAP because time align to where ? The beuaty of using
amplitude panning with irregualr speaker arrays is that there's no sweet
spot, especially for walk through installations.
On Sun, 18 Aug 2019 at 12:23,
*should say "the software doesn't know you've placed the speakers in a line
not a circle"
Its a crude work around - but it works if you dont have time to learn ICST.
You can also try jamona.
On Sun, 18 Aug 2019 at 12:21, Augustine Leudar
wrote:
> I use ICST in MAx MSP for irregular speaker array
I use ICST in MAx MSP for irregular speaker arrays and it works fine even
though it says its "Ambisonics equivelant panning" if you reduce the
directivity it basically works like a form of DBAP. It works really well,
Ive made sound sfly through mazes and up and down buildings with it. You
can even
Hey everyone,
I’m having a bit of trouble setting up a SPAT Revolution session for an
irregular speaker array.
1. I am working with an irregular array of speakers for an installation (see
attached, speakers numbered 1-12). The speakers are in a long hallway and are
irregularly placed in the x
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