In our case we were unfortunately unable to put subs on the floor or under the audience (this was not ideal). However, there were several seat-rumble channels that we were able to use to fake some of the super LF feeling from below. Ben
On Mon, Feb 18, 2013 at 1:43 PM, David Worrall <worr...@avatar.com.au>wrote: > On 19/02/2013, at 4:50 AM, Dave Malham wrote: > > > The guys you need to talk to are Dave Worrall and Kimmo Vennonen who > > have one a lot of things in Geodesic domes down in Oz. Dave, at least, > > was a member of this group- he as a website at > > http://www.avatar.com.au/worrall/ > > > > > > Dave > > Hi Dave (hope you're family is enjoying your retirement too :-) , All... > I'm still a member of this group - not much time ATM so just mostly > lurking these days :-( (*) > > To hone Dave's reference: > http://www.avatar.com.au/worrall/index.php/polymedia-event-theatres > + I'm in the design phase of a new one: > > http://www.avatar.com.au/worrall/index.php/polymedia-event-theatres/pet-3-dome-cluster > > 2 thoughts: > 1. Comments by Ben and Augustine are excellent. The height 'cluister' that > Ben mentions > > What I noticed was the ambisonic material felt very "high" compared to > > other spaces. It would have been nice to have speakers below the dome, > > especially subs to pull the image downward a bit by having sources below > > the audience as well as above. > > is a known phenomena/problem. I guess it is related to whether you're > playing recorder or synthesised material. > If the latter, which was mostly our case, when loudspeakers are evenly > placed on the surface of the hemisphere, then the speakers overhead seem to > be too close together i.e cluster. This together w. the known > coherence-death-zone (the centre of the spheroid), was somewhat overcome by > eliminating the loudspeaker at the very top of the dome. > > I concur that low-placed subs - even under the audience if possible, help > to ground the sound. I couldn't work out from Ben's post whether his only > subs were "at the top splayed out pointing in 360 degrees". If so, that > would seem to be counter to one's sense of most low sounds being 'near the > ground' ( low frequencies are heard more through the feet that the top of > the head). > > 2. The reflective nature of the surface-to-surface and surface-to-floor > couplings are critical. We used large projection screens and mounted > acoustically absorbent material on the back of them to reduce the > dome-as-resonator effect. > > Hope this helps. Some photos might be useful, as they often reveal things > we forget to mention. > > -David > (*) Actually, I've been doing 24 hour recordings w. Len's TetraMic. Just > finished the summer version. I was using his binaural set in parallel, but > it mysteriously gave up the ghost. Been meaning to write to him.... > The project is: > http://www.avatar.com.au/worrall/index.php/current-projects/34-on-turner-sump > (no sound online yet....) > > > > > > On 18 February 2013 17:35, Augustine Leudar <augustineleu...@gmail.com> > wrote: > >> Hi there - > >> I did several large (about 4 acres) walk through sound installations > in > >> the dome shaped tropical biome at the Eden project in Cornwall . I > guess my > >> application would be very different from yours. I designed the sound > >> installation in an adjacent dome first - there were the weirdest > >> reflections ever - for example at certain frequencies the sound pooled > and > >> was louder in one tiny patch on the other side of the building than 3 m > >> away from the speaker etc etc. When I got it in the main biome it > sounded > >> completely different of course. > >> The only thing I can advise you is not to go in with a set idea of how > your > >> going to do it but to try different configurations and see what sounds > best > >> once your in there - I know its a pain in the neck but these things > usually > >> need to be tuned to acoustic peculiarities that are impossible to > predict. > >> Its why I always like to have at elast three days before an event to do > >> this. > >> You can read about some the installations > >> here< > http://web.archive.org/web/20110719132826/http://www.edenproject.com/come-and-visit/whats-on/heart-of-darkness.php > > > >> Hope this helps ! > >> > >> > >> > >> On 18 February 2013 16:47, Neil Waterman <neil.water...@asti-usa.com> > wrote: > >> > >>> Greetings, > >>> > >>> Does anyone on the list have prior experience installing ambi-based 3D > >>> sound into 'dome' shaped replay environments? > >>> > >>> Any tips, specifically on speaker placement, approaches, etc. > >>> > >>> The problems I am facing include a 12 foot 240 degree partial dome > made of > >>> fabric, an 18 foot 240 degree partial dome using fiberglass and a much > >>> bigger 40 foot 360 degree full dome in fiberglass. > >>> > >>> All of the above will actually be 1/2 domes in the sense they are not > full > >>> spheres, but 1/2 a sphere resting on the ground. > >>> > >>> My only prior experience was with a full sphere, fibre dome that was a > >>> nightmare to put sound into… > >>> > >>> One option for the 40 foot dome is to use a central cluster of > directional > >>> speakers, hung in a "chandelier" that would use the dome surface as a > >>> virtual speaker through reflection, but I have never tried this. My > concern > >>> with this is that the listeners (who will be roughly central in all > these > >>> dome areas) will hear both the direct sound and reflected sound and > end-up > >>> with a confused mess. > >>> > >>> For all of these domes there will be an 18" skirt area below the dome > that > >>> could be used for loudspeakers around the periphery - is it better to > try > >>> to beam the sound directly at the listeners position, or perhaps use a > more > >>> diffuse speaker, facing up into the dome face? There will be space to > get > >>> at least one speaker overhead for all configurations. > >>> > >>> Regards, Neil > >>> > >>> _______________________________________________ > >>> Sursound mailing list > >>> Sursound@music.vt.edu > >>> https://mail.music.vt.edu/mailman/listinfo/sursound > >>> > >> > >> > >> > >> -- > >> 07580951119 > >> > >> augustine.leudar.com > >> -------------- next part -------------- > >> An HTML attachment was scrubbed... > >> URL: < > https://mail.music.vt.edu/mailman/private/sursound/attachments/20130218/2c95516e/attachment.html > > > >> _______________________________________________ > >> Sursound mailing list > >> Sursound@music.vt.edu > >> https://mail.music.vt.edu/mailman/listinfo/sursound > > > > > > > > -- > > As of 1st October 2012, I have retired from the University, so this > > disclaimer is redundant.... > > > > > > These are my own views and may or may not be shared by my employer > > > > Dave Malham > > Ex-Music Research Centre > > Department of Music > > The University of York > > Heslington > > York YO10 5DD > > UK > > > > 'Ambisonics - Component Imaging for Audio' > > _______________________________________________ > > Sursound mailing list > > Sursound@music.vt.edu > > https://mail.music.vt.edu/mailman/listinfo/sursound > > _____________________________________________ > Dr David Worrall > Experimental Composer, Polymedia > Adjunct Research Fellow, Australian National University > david.worr...@anu.edu.au > Board Member, International Community for Auditory Display > Regional Editor, Organised Sound (CUP) > IT Projects, Music Council of Australia > worrall.avatar.com.au sonification.com.au > > > > -------------- next part -------------- > An HTML attachment was scrubbed... > URL: < > https://mail.music.vt.edu/mailman/private/sursound/attachments/20130219/8963542f/attachment.html > > > _______________________________________________ > Sursound mailing list > Sursound@music.vt.edu > https://mail.music.vt.edu/mailman/listinfo/sursound > -------------- next part -------------- An HTML attachment was scrubbed... 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