Rober Greene wrote: > There was a method developed by Finsterle Tell us more about it. Is the method described elsewhere? Is it embodied in a device, or software? Who is Finsterle?
Eric ----- Original Message ---- From: Robert Greene <gre...@math.ucla.edu> To: Surround Sound discussion group <sursound@music.vt.edu> Sent: Sat, July 9, 2011 8:22:04 PM Subject: Re: [Sursound] the recent 2-channel 3D sound formats and their viability for actual 360 degree sound 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 > > > _______________________________________________ > Sursound mailing list > Sursound@music.vt.edu > https://mail.music.vt.edu/mailman/listinfo/sursound > _______________________________________________ Sursound mailing list Sursound@music.vt.edu https://mail.music.vt.edu/mailman/listinfo/sursound _______________________________________________ Sursound mailing list Sursound@music.vt.edu https://mail.music.vt.edu/mailman/listinfo/sursound
