Because I got this in digest form, I can't find the original discussion (the 
search facility in our email is a bit inconsistent) - I'd be interested to read 
it


Dr. Peter Lennox
Senior Fellow of the Higher Education Academy
Senior Lecturer in Perception
College of Arts
University of Derby

Tel: 01332 593155
________________________________
From: Sursound <sursound-boun...@music.vt.edu> on behalf of Richard Lee 
<rica...@justnet.com.au>
Sent: 05 July 2016 07:32:19
To: 'Surround Sound discussion group'
Subject: Re: [Sursound] Sursound Digest, Vol 96, Issue 3

Can you give us more detail about these tests and perhaps put some of these
natural recordings on ambisonia.com?

The type of soundfield microphone used .. and particularly the accuracy of
its calibration ... makes a HUGE difference to the 'naturalness' of a
soundfield recording.

Some good examples of 'natural' soundfield recordings with loadsa stuff
happening from all round are Paul Doombusch's Hampi, JH Roy's schoolyard &
John Leonard's Aran music.  Musical examples include John Leonards Orfeo
Trio, Paul Hodges "It was a lover and his lass" and Aaron Heller's (AJH)
"Pulcinella".  The latter has individual soloists popping up in the
soundfield .. not pasted on, but in a very natural and delicious fashion
... as Stravinsky intended.

> Also to my experience, and that doesn?t seem to be a very popular view
yet in ambisonic community, these parametric methods do not only upsample
or sharpen the image compared to direct first-order decoding, but they
actually reproduce the natural recording in a way that is closer
perceptually to how the original sounded, both spatially and in timbre.

> Or at least that?s what our listening tests have shown in a number of
cases and recordings. And the directional sharpening is one effect, but
also the higher spatial decorrelation that they achieve (or lower
inter-aural coherence) in reverberant recordings is equally important.

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