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
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> >
> >
> > --
> > 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
>
>
>
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