On Thu, Sep 26, 2013 at 12:20:16PM -0500, Kan Kaban wrote:
 
> Yes, I know there´s no ambisonics until there is. The idea of amplitude
> panning, during A format stage, is to simplify an analogue path before
> b-format exists.

A-format panning means that the panner has to emulate the polar
patterns of four directional microphones pointing in directions
corresponding to the vertices of a tetraheder. 

While this is possible, it will be more complicated that panning
directly into B-format, with no addded benefit at all.

> Quadraphonic (same to A-Format but without height?)

No, very different.

>  keyboard or synth signals /// then an amplitude panner ///
> then the A to B converter

Conventional amplitude panning followed by encoding to B-format
does *not* produce valid Ambisonic signals.

> Well, if there is some kind of B-format analogue panner we would
> also like to learn about it´s design, so we can actually see how
> pointless it is.

Both A and B-format panning require gains proportional to sine and
cosine of some argument. It's possible to create a passable sin/cos
pair using conventional linear pots over a 90 degree range (even a
stereo panner does that). But you'd need 360 degrees in this case.
Which means either very expensive non-standard potentiometers, or
some non-trivial processing on VCA control signals.

> The idea of panning quadraphonic packs seems easier to implement
> BEFORE an A to B converter.

And is completely useless. Again, quadraphonics converted to B-format
is *not* Ambisonics.

There is a good reason why Ambisoncs was almost forgotten until
digital audio processing became a commodity. It's just a pain to
do in the analog domain. And that's for only first order. Anything
higher order would be madness if not done digitally.

Ciao,

-- 
FA 

A world of exhaustive, reliable metadata would be an utopia.
It's also a pipe-dream, founded on self-delusion, nerd hubris
and hysterically inflated market opportunities. (Cory Doctorow)

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