Umashankar,

Any idea when brahma will be available for non-kickstarters? I've just
gotten into all of this (and am new to this mailing list as well) so I
missed the campaign.

-Levi


On Mon, Apr 28, 2014 at 7:45 AM, umashankar manthravadi <
umasha...@hotmail.com> wrote:

> dear john
>
> do not despair. many of the requests for brahma have come from film
> people, especially those who use dslrs. but the attraction for them seems
> to be the fact that they can rotate and tilt the mic in post. I have had
> film makers come to my house and listen to ambisonics recordings (one
> lovely steam train is my personal favourite) and I think it will stick to
> the backs of their minds. I just wish I have better playback set up.
>
> umashankar
>
> > From: j...@johnleonard.co.uk
> > Date: Mon, 28 Apr 2014 13:10:21 +0100
> > To: sursound@music.vt.edu
> > Subject: [Sursound] I despair, sometimes.
> >
> > I posted a message on the Film Sound Design list to see if there was any
> interest in a B-Format effects library now that there's a free
> mainstream-compatible decoder plug-in from TSL/Soundfield. Here are some of
> the responses:
> >
> > "I don't know...  Call me old school but having to deal with that plug
> on every channel?  Ugg!  Maybe I don't understand it but I really don't
> like 5.1 source material.  It more than doubles the tracks and I still want
> little single one off things that I can pan and move...  Pain to do with a
> 5.1 source."
> >
> > "As much as it pains me, I'm going to agree with Coll. B-Format is
> fascinating in theory and in isolation allows for some amazing
> manipulations, but in practice in a film (narrative or documentary) it is
> at best overkill and in fact can even be distracting. I think there may be
> some exceptions in experimental work and I'd love to see more of that. But
> those are situations where the use of library sounds is not likely - more
> likely would be the capture of production atmospheres in b-format or custom
> fx work."
> >
> > "I agree as well.  B-format is a bit to (sic) niche for my tastes.
>  Flexibility is king.  If I did want surround recordings, I think I'd
> almost prefer double MS... that schoeps plugin awesome!"
> >
> >
> > And from another list, where a current discussion is about depth of
> field in music recording:
> >
> > "I have heard an auro 3D demo, adding or taking away the height layer of
> a recording of street sounds definitely made a huge difference, basically
> going from surround to almost real.
> > I think recording height could be a really cool thing."
> >
> > "Recording with height is amazing. A friend of mine has been
> experimenting with this and 5.1 sounds flat and horrible in comparison.
> > His system even sounds better than Auro 3D."
> >
> > "I think this might be the right thread for posting my question... I
> often use a M/S setup for recording stereo. The composer of a forest sound
> installation has asked me to record a multi channel piece which has
> speakers set high in the canopy, so that sounds/music also moves up and
> down as well as left to right. Is there a set up I can use that will
> portray this extra dimension. The composer proposes hiring a Soundfield
> SPS200, though I'm not convinced that condenser capsule will give me high
> quality sound. Is there a way I can add capsule to my Neumann kma120/184
> M/S setup, perhaps another stereo pair, or a second figure 8 capsule... Any
> ideas?"
> >
> >
> > Makes me want to weep.
> >
> > John
> >
> >
> >
> >
> >
> >
> > _______________________________________________
> > Sursound mailing list
> > Sursound@music.vt.edu
> > https://mail.music.vt.edu/mailman/listinfo/sursound
>
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