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> --
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> Message: 3
> Date: Wed, 26 Jan 2011 14:26:07 -0700
> From: Martin Leese
> Subject: Re: [Sursound] Why do you need to decode ambisonic/b format
> signals
> To: sursound@music.vt.edu
> Message-ID:
>
There is nothing in the sleeve notes about the stereo mic arrangement
but Alan Wiltshire also does an ambisonic walk around in the next
index point in the same track. There is also nothing written about
using the Nimbus Halliday setup in the notes but I imagine this would
have been used, at
Steven Dive wrote:
> One interesting, if odd sounding, effect I found was using superstereo
> on a test track for channel identity for stereo that had someone (Alan
> Wiltshire) speaking from positions full left, half left, centre, half
> right and full right. On my usual setting of 0.5 (range is
Geoffrey Barton wrote:
>> From: Martin Leese
>>> From memory, the theory behind Trifield
>> assumes either Blumlein XY, or pan-potted
>> multi-track mono. Perhaps Geoffrey can chip
>> in, or somebody can look at the paper
>> (reference below). ...
>
> It is not essential that the material is B
On 01/25/2011 09:53 PM, Geoffrey Barton wrote:
Martin Leese:
J?rn Nettingsmeier wrote:
in theory, you can. in practice, you can't, because you'd have
to know what stereo technique was used during recording
Yes you can.
Just one word: Trifield.
>
It is not essential that the material is Bl
eve
On 25 Jan 2011, at 20:53, Geoffrey Barton wrote:
On 25 Jan 2011, at 17:00, sursound-requ...@music.vt.edu wrote:
Message: 8
Date: Mon, 24 Jan 2011 12:03:11 -0700
From: Martin Leese
Subject: Re: [Sursound] Why do you need to decode ambisonic/b format
signals ?
To: sursound@music.vt.e
On 25 Jan 2011, at 17:00, sursound-requ...@music.vt.edu wrote:
>
> Message: 8
> Date: Mon, 24 Jan 2011 12:03:11 -0700
> From: Martin Leese
> Subject: Re: [Sursound] Why do you need to decode ambisonic/b format
> signals ?
> To: sursound@music.vt.edu
> Message-ID:
On Mon, Jan 24, 2011 at 02:47:25AM +0100, Jörn Nettingsmeier wrote:
> it does not correspond to any particular point on the sphere, but it
> is a sample nonetheless.
Yes, a sample in the spectral domain.
> when explaining that to students, i often
> use an image analogy:
> when i want to transmi
Keith Howard's article on Trifield is also in the Motherlode:
http://decoy.iki.fi/dsound/ambisonic/motherlode/source/Trifield1.pdf
Eero
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Eero Aro wrote:
> J?rn Nettingsmeier wrote:
>> in theory, you can. in practice, you can't, because you'd have to know
>> what stereo technique was used during recording
>
> Yes you can.
>
> Just one word: Trifield.
Steven Dive wrote:
...
> I understand that Trifield is derived from the same gro
2011/1/24 Daniel Courville
> Le 11-01-24 10:23, Andrew Levine a écrit :
>
> >I imagine it would require quite a complex piece of software that could
> >differentiate sound sources by grouping their spectral components,
> >reconstruct the original positions and then recreate a LCR-soundstage.
>
>
Hi Daniel,
On 24.01.2011, at 18:55, Daniel Courville wrote:
> Le 11-01-24 10:23, Andrew Levine a écrit :
>> I imagine it would require quite a complex piece of software that could
>> differentiate sound sources by grouping their spectral components,
>> reconstruct the original positions and then r
Le 11-01-24 10:23, Andrew Levine a écrit :
>I imagine it would require quite a complex piece of software that could
>differentiate sound sources by grouping their spectral components,
>reconstruct the original positions and then recreate a LCR-soundstage.
Hum... Probably Svein Berge's HARPEX proc
On 24 Jan 2011, at 08:36, Eero Aro wrote:
> I agree that UHJ can be useful for certain single productions, but when
> somebody is here on the list asking about Ambisonic decoding, in my
> opinion you should give realistic answers.
The realistic answer is that stereo, with over-compressed dynamics
On 01/24/2011 02:36 PM, Eero Aro wrote:
(Ordinary) people use the AV amplifier which they already have in their
livingroom. The amplifier has Dolby Digital and DTS. People are not going
to buy an Ambisonic decoder.
The late Mark Decker at the BBC didn't raise a citizen movement either,
and he re
Hi Steven,
On 24.01.2011, at 15:31, Steven Dive wrote:
> I almost never see any info on recording techniques on record labels and I
> can't foresee any record labels ever stating which microphone techniques were
> used.
DMP Digital Music Products used to do so when they ere in existance, Sheffi
From my perspective as a home user of a commercial home surround
decoder (Ambisonic UHJ, Trifield, Dolby etc.), I almost never see any
info on recording techniques on record labels and I can't foresee any
record labels ever stating which microphone techniques were used.
The manual for my Me
Phew! We have had this discussion before. Should dig the threads from
Sursound archives. Never mind, here we go:
Jörn Nettingsmeier wrote:
i beg to differ. it is still very useful.
> i have done all my client's productions in HOA, even if they weren't
interested
> in any other target format t
Jörn Nettingsmeier wrote:
in theory, you can. in practice, you can't, because you'd have to know
what stereo technique was used during recording
Yes you can.
Just one word: Trifield.
Eero
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On 01/24/2011 05:57 AM, Robert Greene wrote:
Actually, I think the remarks below represent a bit of
a misconception about stereo
playback. In actuality, if one used more speakers
one could make stereo playback better in the sense
that one could widen the spot in which it sounded
reasonably corre
--On 23 January 2011 16:48 +0200 Eero Aro wrote:
In my opinion, you can skip the on-going discussion about UHJ,
I tend to agree, when considered as a carrier for (2D) surround - there are
simply no facilities out there to make use of it - even computer decoding
requires nerdy setup at prese
Hi Robert,
On 24.01.2011, at 06:26, Robert Greene wrote:
> Does anyone really like the sound of the human voice
> from four inches away for example?
Actually that's quite a distance ;-)
Really, spot miking can come in handy. Sometimes you want to capture an
intimacy that can only be had at clos
Of course. Except that when everyone makes recordings
the wrong way, then people are likely to prefer
the recordings played back a complementary wrong
way. Why would anyone want to hear most
commercial recordings as they actually are?
Does anyone really like the sound of the human voice
from fou
I have a photo of my great grandfather's house
in Germany with my great grandfather standing in
front of it. Try that with a digital photo on
a memory stick in a hundred years(which is roughly
how old the photo is--a bit older actually).
Books, pictures, records endure. Digital information
is he
On 23 Jan 2011, at 23:52, Robert Greene wrote:
> Of course this completely ignored the fact
> that in blind testing years ago,
> everyone preferred cassettes of vinyl
> to vinyl itself(which ought to have
> told people something about the recording
> industry's recording practices).
Sounds like t
Definitely not, and none of the things that were
recorded that way will be playable except by archivists.
But that is fair enough since none of the music
being provided that way will be of any interest
to anyone except cultural(using the word loosely)
historians anyway.
Robert
On Sun, 23 Jan 20
Actually, I think the remarks below represent a bit of
a misconception about stereo
playback. In actuality, if one used more speakers
one could make stereo playback better in the sense
that one could widen the spot in which it sounded
reasonably correct.
In actuality, if one sits absolutely sti
Of course this completely ignored the fact
that in blind testing years ago,
everyone preferred cassettes of vinyl
to vinyl itself(which ought to have
told people something about the recording
industry's recording practices).
Robert
On Sun, 23 Jan 2011, dave.mal...@york.ac.uk wrote:
On Jan 23 2
On 01/23/2011 03:48 PM, Eero Aro wrote:
In my opinion, you can skip the on-going discussion about UHJ, it's more or
less academic. UHJ was developed in the 1980's, at the time when vinyl LP
and FM radio were the most important carriers. UHJ isn't needed anymore.
i beg to differ. it is still ve
On 01/23/2011 02:53 PM, f...@kokkinizita.net wrote:
On Sun, Jan 23, 2011 at 12:39:19AM +0100, Jörn Nettingsmeier wrote:
http://stackingdwarves.net/public_stuff/linux_audio/tmt10/TMT2010_J%c3%b6rn_Nettingsmeier-Higher_order_Ambisonics-Slides.pdf
Nice ! But I don't really agree with some of the
True, so true - not something I'd choose, but.
I'll go downstairs and wind up my HMV Gramophone from 1905,
it's still working. Will my mp3 player do the same after 100 years?
Eero
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On Jan 23 2011, Eero Aro wrote:
Dave,
I find a paradox in your sentence:
who wants to use vinyl (or even cassette!) for aesthetic reasons
Aesthetic, vinyl - yes! Agree.
But cassette !!!??? What?
Well, the beauty is in the eye of the beholder :-)
True, so true - not something I'd choose,
Jörn Nettingsmeier wrote:
On 01/23/2011 01:41 AM, Stefan Schreiber wrote:
In fact, the introduced "system" might deliver better results than say
Dolby Pro Logic IIz.
that's like saying "this new car model is a lot faster than a dead
whale on the beach" :-D
This is a cool analogy...
Dave,
I find a paradox in your sentence:
who wants to use vinyl (or even cassette!) for aesthetic reasons
Aesthetic, vinyl - yes! Agree.
But cassette !!!??? What?
Well, the beauty is in the eye of the beholder :-)
Eero
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On Jan 23 2011, dave.mal...@york.ac.uk wrote:
that there are no stereo cylinder players as I'm sure someone would want
that too - see http://www.bbc.co.uk/news/10171129
or better yet -
http://www.touchmusic.org.uk/news/the_wire_wax_cylinders_and_evp.html - wax
cylinders are clearly the wave
On 23 Jan 2011, at 13:50, dave.mal...@york.ac.uk wrote:
> On Jan 23 2011, Eero Aro wrote:
>
>
>> In my opinion, you can skip the on-going discussion about UHJ, it's more or
>> less academic. UHJ was developed in the 1980's, at the time when vinyl LP
>> and FM radio were the most important carri
On Jan 23 2011, Eero Aro wrote:
In my opinion, you can skip the on-going discussion about UHJ, it's more or
less academic. UHJ was developed in the 1980's, at the time when vinyl LP
and FM radio were the most important carriers. UHJ isn't needed anymore.
Unless, of course, you are a musician
Augustine Leudar wrote:
> Im sure Im missing something obvious here but humour me. With a stereo
> signal I can just place two speakers in a line and have my stereo signal
> send two discrete channels to each speakers, each channel representiong one
> channel of my stereo microphone. The same wit
Anyone who would like an introduction to spherical harmonics
expansions could have a look at this(which I wrote myself)
http://www.regonaudio.com/SphericalHarmonics.pdf
as an introduction for audio people.
It is perhaps worth noting that spherical harmonics
(and Fourier expansion of periodic fun
Gus
As Fons already said, there is information available about Ambisonics.
First check out these two sites:
http://martin_leese.tripod.com/Ambisonic/
http://www.ambisonic.net/
In quadrophic systems the angle between adjacent speakers is
90 degrees (or more), which isn't enough to create stabile
On Sun, Jan 23, 2011 at 12:39:19AM +0100, Jörn Nettingsmeier wrote:
> http://stackingdwarves.net/public_stuff/linux_audio/tmt10/TMT2010_J%c3%b6rn_Nettingsmeier-Higher_order_Ambisonics-Slides.pdf
Nice ! But I don't really agree with some of the reasoning :-)
There's a logical 'jump' in there whic
On Sat, Jan 22, 2011 at 06:24:23PM -0800, Danny McCarty wrote:
> >> Now this isn't too condescending is it?
I certainly wasn't meant to be. From the question it was quite
clear that the original poster started with zero of very little
background on AMB. Taking note of this is not a reflection on
On 01/23/2011 01:41 AM, Stefan Schreiber wrote:
In fact, the introduced "system" might deliver better results than say
Dolby Pro Logic IIz.
that's like saying "this new car model is a lot faster than a dead whale
on the beach" :-D
--
Jörn Nettingsmeier
Lortzingstr. 11, 45128 Essen, Tel. +49
>> Now this isn't too condescending is it?
>>
>>
>> Your question reveals that you have not even started to study and
>> understand Ambisonics theory - the answer would be quite evident
>> in the other case. You could as well ask a engineer why he needs
>> complex numbers while you can do your b
info as above, de-code to
any horizontal only surround format, Quad, 5.0, 5.1, 7.1, whatever.
John L
From: Jörn Nettingsmeier
To: sursound@music.vt.edu
Sent: Saturday, January 22, 2011 11:44 PM
Subject: Re: [Sursound] Why do you need to decode ambisonic/b format signals
?
> On Sat, Jan 2
f...@kokkinizita.net wrote:
On Sat, Jan 22, 2011 at 04:38:19PM +, Augustine Leudar wrote:
Im sure Im missing something obvious here but humour me. With a stereo
signal I can just place two speakers in a line and have my stereo signal
send two discrete channels to each speakers, each cha
f...@kokkinizita.net wrote:
On Sat, Jan 22, 2011 at 04:38:19PM +, Augustine Leudar wrote:
Im sure Im missing something obvious here but humour me. With a stereo
signal I can just place two speakers in a line and have my stereo signal
send two discrete channels to each speakers, each cha
On Sat, Jan 22, 2011 at 04:38:19PM +, Augustine Leudar wrote:
The same with quadrophonic (with no
matrixing nonsense) - four mics go to four speakers placed in a square -
works fine, tried it hundreds of times, no decfoding involved.
oh, and i forgot: you can do horizontal surround to fou
On 01/22/2011 11:56 PM, f...@kokkinizita.net wrote:
On Sat, Jan 22, 2011 at 04:38:19PM +, Augustine Leudar wrote:
Im sure Im missing something obvious here but humour me. With a stereo
signal I can just place two speakers in a line and have my stereo signal
send two discrete channels to eac
On Sat, Jan 22, 2011 at 04:38:19PM +, Augustine Leudar wrote:
> Im sure Im missing something obvious here but humour me. With a stereo
> signal I can just place two speakers in a line and have my stereo signal
> send two discrete channels to each speakers, each channel representiong one
> chan
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