> > ------------------------------ > > Message: 19 > Date: Sun, 1 Apr 2012 00:22:21 +0100 > From: Peter Lennox <p.len...@derby.ac.uk> > Subject: Re: [Sursound] Can anyone help with my dissertation please? > To: Surround Sound discussion group <sursound@music.vt.edu> > Message-ID: > > <28f33490c302424e98cc6dc2531b2048c18acc4...@mkt-mbx01.university.ds.derby.ac.uk> > > Content-Type: text/plain; charset="us-ascii" > > > > well! > > Cara, you've had loads of responses! > > > I hope that the sheer volume hasn't overwhelmed you > > With my dissertation supervisor head on, I'd like to offer the following: > > Your dissertation question clearly touches something important, but lacks > focus. > By that, I mean (in a caring way, possums) that framing the question this way > makes it very difficult to elicit clear answers. Proving why something didn't > happen is very often impossible - it's like the evolutionery arguments as to > why this species made it, whilst that one didn't. The reasons are usually > incredibly complex, and intrinsically involve chaotic elements - the toss of > a coin, the arrival of this circumstance instead of that, the confluence of > these causal items instead of the lack of coincidence of such. > > Having said all that... > > You've clearly struck a nerve - the responses here show that plenty of > articulate and knowledgeable people have something to offer on this - and > these people won't be around for ever! - clearly, Blumlein has gone, Gerzon > has gone, Felgett isn't around.. - BUT: Peter Craven is. I know he is not so > active on this list, but look for algol.co.uk.
Can I just point out that Peter Craven, although 'in at the birth' as the co-inventer of the soundfield mic, was not directly involved in the development of Ambisonics? MAG used to keep people and projects in separate boxes and the Reading group was quite separate from the OUTRS activities and MAG always kept it that way. MAG worked on Ambisonics with Peter Fellgett and John Wright at Reading University. I joined them in 1975. BTW I agree about the necessity for formulating the question carefully. How do you measure success? If you asked MAG and PBF why they were spending so much time during the 1970s on Ambisonics, there was no ambiguity. It was entirely about making a technology which could reproduce a realistic simulacrum of a musical performance, and that is why I joined them, being like-minded. And under that measure, Ambisonics was and remains a success. Mind you, I had difficulty convincing PBF of this in his declining years. Others had other objectives. Once NRDC/BTG became involved, commercial objectives, in retrospect maybe unrealistic, were added, and we had to service these in order to finance what we really wanted to do. Geoffrey -------------- next part -------------- An HTML attachment was scrubbed... URL: <https://mail.music.vt.edu/mailman/private/sursound/attachments/20120402/4026030d/attachment.html> _______________________________________________ Sursound mailing list Sursound@music.vt.edu https://mail.music.vt.edu/mailman/listinfo/sursound
