I have head from guys at swedish radio that the Finland radio corporation
have done a lot of Ambisonic recordings and still continued to do so.

http://labs.plan8.se/ambisonics-webplayer/
Here is a FOA binaural Web based player that you can use in chrome on most
platforms.
If a number of things falls into placering I hope it will support
Headtracking with a bluetooth connected sensor with this year.

Bo-Erik


Den 9 jan. 2017 12:09 em skrev "Stefan Schreiber" <st...@mail.telepac.pt>:

> Sampo Syreeni wrote:
>
> On 2017-01-09, Stefan Schreiber wrote:
>>
>> Sorry, correction:
>>>
>>> "I must again ask: What does "vbap" actually mean in your question?" etc.
>>>>
>>>
>>>
>> It refers to Ville Pulkki's dissertation at Aalto University (then
>> Helsinki University of Technology, fi: Teknillinen korkeakoulu).
>> http://lib.tkk.fi/Diss/2001/isbn9512255324/isbn9512255324.pdf
>>
>> Basically VBAP (vector base amplitude panning) is a form of equal power
>> weighted amplitude panning. Just as your normal stereo panning law would
>> be, only it's in 3D, over widely varying speaker geometry.
>>
>
> Yes, I basically wrote the same, even linking to some Helsinki source
> below dissertation level... :-)
>
>
>> Even if the idea is rather simple, nobody for some reason did it before
>> Ville, really. Definitely didn't take up the task of psychoacoustic
>> evaluation of the idea.
>>
>
> Yep.
>
>
>> By Ville's work, it seems to work out better than expected. I wouldn't be
>> surprised if the likes of Dolby Atmos actually used precisely the VBAP
>> panning law in order to place their discrete sources.
>>
>
>
> Probably! Mpeg-H 3DA certainly makes heavy use of VBAP.
>
>
>> The critique I'd have for such panning laws is that they don't really
>> respect the ambisonic/Gerzon theory, especially at the low frequencies.
>>
>
> Stereophonic panning laws are based on Blumlein's stereo theory, which in
> Wittek's opinion is pretty close to sound fields anyway.
>
> In essence, they work, and necessarily would *have* to work in the high
>> frequency, (ambisonically speaking) high order,sparse array limit. Which is
>> why they mostly work for common music and speech signals.
>>
>
> Disagreed! ILD panning leads to ITD differences at LF. (According to
> Blumlein, not me.)
>
> http://www.hauptmikrofon.de/HW/Wittek_thesis_201207.pdf
>
> In contrast, Blumlein (1933) aimed at a proportional reproduction of the
>> directional image of
>> the recorded scene by recreating the original physical auditory cues. He
>> found that in a
>> stereophonic setup, the intensity5 differences between the loudspeakers
>> are converted into
>> phase differences at the listener’s ears below a certain limit frequency.
>> Above this frequency,
>> intensity differences between the loudspeakers would translate to similar
>> differences between
>> the ears. Thus both important cues for source localisation would be
>> synthesised correctly: the
>> low frequency phase differences and the high frequency intensity
>> differences.
>> Blumlein’s ideas are the basis of the summing localisation theory, see
>> section 3.6.1. They lead
>> to a computable stereophonic reproduction between the loudspeakers. He
>> proposed a coincident
>> microphone setup for capturing intensity differences, consisting of two
>> bidirectional
>> microphones at an angle of 90°, which nowadays is known as the ‘Blumlein
>> pair’.
>>
>
>
>
> Best,
>
> Stefan
>
>
>> However, they fail to work general speaker arrays fully. Especially at
>> the lower frequencies. Ambisonically speaking, where we'd go with a
>> holistic, whole array, directionally averaged velocity decode.
>>
>
>
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