well, i always thought first order b format as a natural extension of blumlein. one immediate result i noticed first time i managed to play a recording with eight loudspeakers was how little work the speakers to had to do to produce a rich full bodied sound in my (somewhat small). the speakers no longer had to excite the room. the reverberation came with the recording. i think it is linked to this, that i could also record from much further away than i ever could in stereo. because the reverberation is not limited to the two speakers producing the audio, there could be much more of it without making the recording sound distant. i have just last week recorded a performance of vaishnavite bhajans, in a three hundred year old temple (built of stone, with a rusting sheet metal sun shade over part of the portico. a difficult situation, with two large drums and two singers. i have recordings in stereo (ortf on the floor) and a format to Zoom H2 about three times as far. i have to listen to the recording on eight channels, but even folded down to stereo very crudely it sounds good. umashankar
i have published my poems. read (or buy) at http://stores.lulu.com/umashankar > Date: Mon, 2 Apr 2012 08:26:40 -0700 > From: gre...@math.ucla.edu > To: sursound@music.vt.edu > Subject: Re: [Sursound] Can anyone help with my dissertation please? > > > Because it is good! It keeps people from making really > wrong meaningless recordings by spacing microphones > a long way apart! > Robert > > On Mon, 2 Apr 2012, Eero Aro wrote: > > > Robert Greene wrote: > >> 2 Forces people to use one point miking > > > > Actually I don't understand why you list one point miking in the "Goods". > > :-) > > > > However, from quite early on, it was possible to use mono and stereo > > microphones and to encode them into UHJ with the Audio & Design > > Transcoder and into B-Format with the Pan/Rotate unit. Another thing is, > > why people didn't find the A&D gear. It wasn't more expensive than other > > studio gear. > > > > However, the "need for one point miking" is a confusion that might have made > > Ambisonics less attractive for the recording studios. They may have thought > > that > > you _must_ use a Soundfield. I think people got this picture because Nimbus > > Records were advertising their recordings as "one microphone" recordings. > > Minimalist recordings were attracted by some high end circles and it of > > course > > was a marketing factor. > > > >> (I have tried to write about Ambisonics > >> for the general audio public--no dice, people did not get it even > >> though I thought what I wrote was clear as crystal) > > > > I also tried that and also thought that what I wrote was clear as crystal. > > I sometimes saw a certain smile on the face of some of my colleagues after > > they > > had read my articles. :-) > > > > - - - > > > > I also thought of another thing: The original group published their first > > articles > > about Ambisonics in electronics hobbyist magazines, such as Wireless > > World and Elektor. As far as I know, the first article in a respected > > science > > magazine was that by Peter Fellgett in Nature. Many pro audio magazines also > > published articles about Ambisonics before Gerzon gave out papers for the > > AES. > > > > Eero > > _______________________________________________ > > 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 -------------- next part -------------- An HTML attachment was scrubbed... URL: <https://mail.music.vt.edu/mailman/private/sursound/attachments/20120402/c6988f2f/attachment.html> _______________________________________________ Sursound mailing list Sursound@music.vt.edu https://mail.music.vt.edu/mailman/listinfo/sursound
