On Mon, Nov 15, 2010 at 09:25:46AM +0000, Dave Malham wrote: > I really don't understand "...ambisonics and VBAP is that there are > no restrictions on the positioning of loudspeakers or listener.", at > least as regards to VBAP. We are currently - and have been for over > two years now - using VBAP in The Morning Line sculpture > (http://www.worldarchitecturenews.com/index.php?fuseaction=wanappln.projectview&upload_id=14039) > and the reason we used it rather than Ambisonics was because it > could cope with extremely irregular arrays of speakers. Comments?
A fundamental difference between VBAP and DBAP seems to be that DBAP doesn't consider the listener's position *at all*. It just distributes the power for any source over the available speakers in a way that depends only on the distance of the source to the speakers, the nearest speaker get the biggest share etc. This means that different listeners will not all hear a particular source in the same direction, nor in the same place, but in general it will produce an effect that is *useful*, in particular in setups such as the ones illustrated in the examples in the paper where the listener is moving among the collection of speakers and the 'soundscape' changes is function of his/her position. No other system I know of could possilbly produce anything similar in such a simple way. I'd say it's very much a 'common sense' approach to a specific problem - installations using sound - rather than an attempt to create a well-defined 'concert style' sound scene that would be more or less identical for all listeners (which is what stereo, AMB, WFS, and others try to do). Ciao, -- FA There are three of them, and Alleline. _______________________________________________ Sursound mailing list [email protected] https://mail.music.vt.edu/mailman/listinfo/sursound
