Part of the point must surely be to reach the public
eventually? Or is that somehow sort of declasse?
Robert
On Mon, 2 Apr 2012, Richard Dobson wrote:
On 02/04/2012 16:34, Robert Greene wrote:
It may be old but it is still all but universal
in acoustic concert music.
Maybe; but acoustic concert music is not the universe. But I can well see
that the prevailing assumption on this list is that Ambisonics is only
relevant to the reproduction of traditional music formats and idioms (yawn).
Implication - composers trying to compose new sounds which do surround the
audience should look elsewhere - or perhaps not bother at all? The spectacle
of seeing people on this list for ever trying to promote this "new" system in
terms of existing music, when stereo is actually good enough for that
material already, is more than a little disconcerting.
If it of any interest whatsoever to this list: last year Trevor Wishart
completed a new 8-channel surround work "Encounters in the Republic of
Heaven". Reviews to date collectively suggest this work is very likely (a) a
masterpiece and (b) universally accessible, e.g.:
http://www.thebubble.org.uk/music/encounters-during-the-republic-of-heaven
Needless to say he wrote a number of new software tools for CDP to manage his
audio routing. Now, I ~could~ quietly suggest that he might consider a mix
for 5.1 delivery using B-Format (currently all that is available to buy is a
stereo mixdown), but if everyone sticks rigidly to the notion that music only
exists "in front", I see no point in trying.
So, what ~is~ the point of this list, exactly?
Richard Dobson
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