It was an interesting presentation. The demonstration was not wholly convincing, I have to say — (a bongo drum sound that you could manually steer around the horizontal sound field) I think I have heard better surround from normal ambisonics. A claim for this system is that it is more convincing away from the “sweet spot”. Again, on the demo, I wasn’t particularly convinced, with notable collapse and fail-over from one speaker to the next especially from 90 degrees to 180 degrees. In fairness, it wasn’t a particularly easy demo environment, with a lot of people in the room. In a more purist test, it might well do better?
As I said, interesting and well worth attending, despite the limitations. And, my goodness, doesn’t Kings College have *dreadful* internal signage? Trying to get out turned into an episode of a maze game. jon On 31/12/2014 17:52, "Aaron Heller" <hel...@ai.sri.com> wrote: >On Wed, Dec 31, 2014 at 3:20 AM, Dave Malham <dave.mal...@york.ac.uk> >wrote: >> >> I wonder how closely this is related to the paper he was one of the >authors >> of at the 2010 Ambisonics Symposium? Anyone have it handy? > >Here's the URL: > http://ambisonics10.ircam.fr/drupal/files/proceedings/poster/P6_41.pdf > >Also an IEEE paper from 2013 > > http://ieeexplore.ieee.org/xpl/articleDetails.jsp?arnumber=6508825 > >This paper presents a systematic framework for the analysis and design of >circular multichannel surround sound systems. Objective analysis based on >the concept of active intensity fields shows that for stable rendition of >monochromatic plane waves it is beneficial to render each such wave by no >more than two channels. Based on that finding, we propose a methodology >for >the design of circular microphone arrays, in the same configuration as the >corresponding loudspeaker system, which aims to capture inter-channel time >and intensity differences that ensure accurate rendition of the auditory >perspective. The methodology is applicable to regular and irregular >microphone/speaker layouts, and a wide range of microphone array radii, >including the special case of coincident arrays which corresponds to >intensity-based systems. Several design examples, involving first and >higher-order microphones are presented. Results of formal listening tests >suggest that the proposed design methodology achieves a performance >comparable to prior art in the center of the loudspeaker array and a more >graceful degradation away from the center. > > >> > Le 31 déc. 2014 à 00:08, John Leonard <j...@johnleonard.co.uk> a >>écrit : >> > >> > > This looks interesting: >> > > >> > > Upcoming Lectures >> > > >> > > London: Tuesday 13th January >> > > >> > > Perceptual Sound Field Reconstruction and Coherent Synthesis >> > > >> > > Zoran Cvetkovic, Professor of Signal Processing at King's College >London >> > > >> > > Imagine a group of fans cheering their team at the Olympics from a >local >> > pub, who want to feel transposed to the arena by experiencing a >>faithful >> > and convincing auditory perspective of the scene they see on the >>screen. >> > They hear the punch of the player kicking the ball and are immersed in >the >> > atmosphere as if they are watching from the sideline. Alternatively, >> > imagine a small group of classical music aficionados following a >broadcast >> > from the Royal Opera at home, who want to have the experience of >listening >> > to it from best seats at the opera house. Imagine having finally a >surround >> > sound system with room simulators that actually sound like the spaces >they >> > are supposed to synthesise, or watching a 3D nature film in a home >theatre >> > where the sound closely follows the movements one sees on the screen. >> > Imagine also a video game capable of providing a convincing dynamic >> > auditory perspective that tracks a moving game player and responds to >his >> > actions, with virtual objects moving and acoustic environments >>changing. >> > Finally, place all this in the context of visual technology that is >moving >> > firmly in the direction of "3D" capture and rendering, where enhanced >> > spatial accuracy and detail are key features. In this talk we will >present >> > a technology that enables all these spatial sound applications using >> > low-count multichannel systems. >> > > This month's lecture is being held at King's College London, Nash >> > Lecture Theatre, K2.31, Strand, London, WC2R 2LS. 6:30pm for 7:00pm >start. >> > > >> > > I'll be there if I can. >> > > >> > > John >-------------- next part -------------- >An HTML attachment was scrubbed... >URL: ><https://mail.music.vt.edu/mailman/private/sursound/attachments/20141231/b >118ab2e/attachment.html> >_______________________________________________ >Sursound mailing list >Sursound@music.vt.edu >https://mail.music.vt.edu/mailman/listinfo/sursound - unsubscribe here, >edit account or options, view archives and so on. _______________________________________________ Sursound mailing list Sursound@music.vt.edu https://mail.music.vt.edu/mailman/listinfo/sursound - unsubscribe here, edit account or options, view archives and so on.
