Hi Cara, I enjoyed reading your post and the many responses that followed. I assume you’re aware of the book “Michael Gerzon: Beyond Psychoacoustics.” I believe you’d find it to be worthwhile reading for your dissertation. As an American, I’ll confess we like things big, loud, and gimmicky. Promoting Ambisonics here isn't so easy, even at a presumed "progressive" university. MP3 files played through earbud-type headphones are favored by many young adults. I’m guessing this is universal. I first heard of Ambisonics in the 1970s through articles that appeared in The Audio Amateur and Wireless World. At that time I wasn’t ready for anything beyond stereo, so I didn’t pay close attention to the emerging quad technologies. Admittedly, I was a teenager and was building my first “Williamson” vacuum tube amplifier back then. It was only recently that I “discovered” the magic and science of Ambisonics. Things oftentimes happen serendipitously: While pursuing a PhD in Hearing Science, I wanted to create virtual listening environments from recorded, real-world scenarios to be used for testing cochlear implant (CI) patients. Current test protocols for assessing listening ability in noise seemed quite limiting. While questioning what was being used to assess CI patients, I read about auralization. Bengt-Inge Dalenbäck, PhD was most helpful here. From there I jumped onto Ambisonics, and just recently started making music recordings using an Ambisonic microphone. People on this sursound list have been very helpful, and the persons you hear from are well-respected in this field (not speaking for myself, though). In addition to hearing science, I’m also studying Audio Production Technology at a music-oriented school (this is distinctly different from the university I attend). I use Pro Tools regularly, but it doesn’t have the surround plug-in. I also have Steinberg’s Nuendo on my computer, and this allows me to use the popular Ambisonic VST plug-ins. By the way, for those who may not have tried it, I’ve have good success with the Harpex software for creating HRTF simulations from B-format files. I also have access to awesome studio gear (Neumann U47 mics, an SSL console, tubed compressors, and the like), but no one I work with addresses anything beyond stereo unless you get into sound for video (but sound for video is pretty much effects-oriented). Back to Ambisonics: One topic you may wish to explore as a “new” topic is using Ambisonics in hearing research; specifically, understanding hearing pathologies (compared to normal-hearing psychoacoustics). I’ve tried to promote Ambisonics as a research tool and for music recording (two distinct audiences). I have a few links on my website (cochlearconcepts) that you can probably find elsewhere, but there’s also a PowerPoint somewhere on my site that briefly touches on the need for real-world testing (the paper focused on Ecological Psychology because it was also intended for a grad psych class). My hearing research led me to Ambisonics, and Ambisonics led me back to my love for music production technologies. I, too, have a heck of a lot to learn, but it has been a worthwhile journey. Very best of luck with your school and project! Sincerely, Eric -------------- next part -------------- An HTML attachment was scrubbed... URL: <https://mail.music.vt.edu/mailman/private/sursound/attachments/20120331/b4c73127/attachment.html> _______________________________________________ Sursound mailing list Sursound@music.vt.edu https://mail.music.vt.edu/mailman/listinfo/sursound
