There was a method developed by Finsterle that worked very well
indeed, much better than Trifield(which has always seemed to me
to have a serious "center detent".
Finsterle's method had sound in the rear psychoacoustically
encoded not to sound in the rear but to solidify the front
images.
This worked very well in my experience
Robert
On Sat, 9 Jul 2011, Paul Hodges wrote:
--On 09 July 2011 14:04 -0400 Marc Lavall?e <m...@hacklava.net> wrote:
So, is it possible to adapt a stereo recording to play on a horizontal
ambisonics system, in order to get a better stereo image than with
conventional stereo? A kind of "restored stereo" experience that
ambisonics can provide because of its directional capabilities?
Two approaches that Michael Gerzon took are exemplified by the "Super
Stereo" mode of the early ambisonic decoders, and the later "Trifield"
system using three speakers; but neither of these is about attempting to
generate a full circle from the stereo signal. A problem that arises, in
any case, is that the result does depend strongly on the way the stereo
recording was made - coincident mics (e.g. Blumlein), spaced mics (e.g.
Decca Tree), or a reliance on mixing from spot-mics. As these record very
different directional cues, a single process can't be expected to handle
them all equally effectively.
As for 5.1 - there are a number of useful decoders available which can be
used to reproduce ambisonic signals using speakers set up for 5.1; but the
irregular spacing means inevitably that the results are not as good in some
directions as they could be with the same speakers more uniformly spaced.
Playing 5.1 signals through an ambisonic system is a matter of steering
those signals as virtual sources at the required angles in a B-format
signal; as with stereo, nothing is added to the experience because there is
nothing extra to be found - but the reproduction will be less good to the
extent that the sources expected when the 5.1 mix was done are being less
precisely reproduced.
Paul
--
Paul Hodges
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