The first experience I had with this was in the mid-nineties Here at York.
Some students did a piece in this way, using Ambisonics. If I remember
rightly, that was John Vaughan and Peter Lennox, I'm sure they will correct
me if I'm wrong :-)
For any project like this, if you wish to use Ambisonics, I would recommend
that you at least start off using the so-called "in phase" decode. This
gives you considerably improved sweet spot size at the expense of image
sharpness. For third order work, you'll find that, all things being equal,
the decode will work reasonably well anywhere except on the actual surface
of the array.
Dave
On 27 March 2018 at 10:27, Augustine Leudar <augustineleu...@gmail.com>
wrote:
> Sorry Im a bit busy so didnt read all. I did quite a similar project with
> two concentric rings of speakers one inside the other. My advice would be
> to not use ambisonics but Vbap or some form of amplitude panning - sweet
> spot is less of an issue. I do a lot of walk around installations and
> occasionally for museums,
> best,
> Gus
>
> On 27 March 2018 at 08:01, Jack Reynolds <jackreynolds...@gmail.com>
> wrote:
>
> > As far as I know, higher order ambisonics over loudspeakers has a quite
> > confined sweet spot. Higher order spherical harmonics produce an in phase
> > and out of phase signal in opposite speaker pairs. So if you pan a signal
> > towards a particular speaker, the opposite speaker will produce a lower
> > level antiphase signal, which will work when you are positioned
> equidistant
> > from both speakers, causing a certain amount of nulling of the air
> pressure
> > at that spot, but positive particle velocity, like a figure 8 mic
> pattern.
> > So as you move around the room, the sonic image will change because of
> the
> > opposite pairs of speakers.
> > It’s also very difficult to isolate a sound in a single speaker, unless
> > you are working at seventh order ambisonics, with a 64 channel signal.
> > So I am wondering why you are considering ambisonics over vbap?
> >
> > I use the Blue Ripple Sound third order ambisonic plug-ins in Reaper and
> > have also been experimenting with the IEM seventh order plugins which
> could
> > be worth experimenting with. Reaper and Nuendo are the only DAWs which
> will
> > give you 64 channel busses for 7th order, and IEM have just launched a
> > customisable speaker array decoding plugin. You can also try MATHIAS
> > Kronlachers 7th order ambiX suite for binaural decoding at the same time.
> > They also free, so you could experiment for nothing!
> > PTHD has just updated to 16 channel busses but logic can only do 8, so
> > first order only, which won’t give you much positional accuracy.
> >
> > Hope this helps!
> >
> > Cheers
> >
> > Jack
> >
> >
> > Sent from my iPhone
> >
> > > On 27 Mar 2018, at 00:17, Søren Bendixen <soerenbendi...@gmail.com>
> > wrote:
> > >
> > > Hello
> > > I need some advice!
> > >
> > > I’ve been doing music/sounddesign for museums for a while now (read:
> > https://www.asoundeffect.com/museum-sound-design/ <
> > https://www.asoundeffect.com/museum-sound-design/>). My next project
> > could be the one using ambisonics!…
> > > I have never really used ambisonics but have been reading a lot lately,
> > and demoing plug ins - up til now only in headphones converting stuff to
> > binaural.
> > > And in the next few days I´ll test some ambisonics over my speakers. I
> > did that a while back and it sounded very cool.
> > > I have a studio with 8 ch out, 8 speakers (and a sub) - but hope I can
> > get my hands on 8 more channels and 8 more speakers.
> > >
> > > I have logic Pro x, ableton live 9 (upgrading soon..) and Reaper. I do
> > most of my work in Logic Pro X, and would like to stay in Logic - the
> > exhibition opens in less than three months…so digging deep into another
> DAW
> > is difficult.
> > >
> > > I’m a composer and I compose music and sounddesign.I tend to use
> > standard technical configurations in odd ways (parallel stereo, some
> > sourround configs), Mostly it is ways of composing and arranging every
> > sound as a part of a symphony. It do that in different ways - and I
> started
> > out working this way because I was asked to do 3 compositions/sounddesign
> > playing in the same room - (please read the article from asoundeffect).
> > >
> > > Exhibition rooms are also often odd designs - and so is speaker
> > placement.
> > > But this time I have the possibility to work in 3 circles and this is
> > what want to do:
> > >
> > > - Inner circle: Speak in headphones + two sounddesigns: one related to
> > the speak, the other layers from the sounddesign from the two other
> > circles. I want this sounddesign to be 3D/Binaural.
> > >
> > > - Middle circle: 8 speakers hanging from a rig about 4 - 5 meters up
> > pointing down into the circle.(45 degrees i guess..). This sounddesign
> will
> > consist of music, local sound related to object/themes in this part of
> the
> > exhibition. This should be in ambisonics. some of this sounddesign will
> > appear in headphones as binaural sounds. I can be two different
> audiofiles
> > (managed by Qlab).
> > >
> > > - Outer circle: 8 speakers placed on the walls - the room is square but
> > we will try to create an illusion that it is circular by projecting
> movies
> > on the walls. Here I want another sounddesign consisting of mainly season
> > related sound (spring, summer, winter - storm, rain, wind, and just the
> > sound of a cold cold morning..).
> > > his sounddesign should be ambisonics too.
> > > If possible I would like sounds from ex. horses (or people walking or
> > wind blowing) wander from the outer circle into the middle circle and
> into
> > headphones. and back.
> > >
> > > The sounddesign/music from the middle circle and the outer circle will
> > blend (and should blend) and when you put on headphones you will hear
> > layers of the middle and outer circle designs - so you never leave what I
> > call the overall sounddesign.
> > >
> > > So how do I do that..?
> > >
> > > First I need to know: Is it true that Ambisonics does not “aim for” a
> > sweet spot - Paul Virostek says it does (https://www.
> > creativefieldrecording.com/2017/03/01/explorers-of-
> > ambisonics-introduction/#more-16883 <https://www.
> > creativefieldrecording.com/2017/03/01/explorers-of-
> > ambisonics-introduction/#more-16883>) a lot says it doesn’t..?
> > > It is very importing to find out about, because an exhibition crowd
> > walks around so a narrow sweet spot is no go.
> > > And my main reason for using ambisonics is that is believe it is the
> > best format to create space/soundroom where you are ex. in the middle of
> a
> > storm. or you walk around inside a composition/orchestra.I also like the
> > idea that ambisonics is not depending on a fixed speaker
> > configuration..right?
> > >
> > > So I want to create big spaces BUT the same sounddesign needs both
> > overall sound and local sound (sounds that stays in a specific position)-
> > and wandering sounds - it seems to be possible too to blend an overall
> > ambisonic full circle of sound with local placed sounds in the same
> design…?
> > >
> > > And what software do I need?
> > > I guess I need software that can deal with ambisonics files and make
> > ambisonics files out of mono, stereo, surround files
> > > and software that can convert ambisonics sound into binaural sound for
> > headphones.
> > >
> > > I´m testing
> > > Noisemakers ambihead, and Ambipan (good stuff and working in logic too)
> > > DearVR music (and tomorrow testing DearVR pro for ambisonics output) -
> > (sounds great and the panner is very good)
> > > And Logics own binarual output. (seems ok for binaural but misses some
> > automation)
> > > Wigware (seems ok but cannot work in logic)
> > >
> > > I’m about to test
> > > Waves ambisonics B360 + NX
> > > Rondo360
> > >
> > > Everthing will run in sync controlled by Qlab - I guess Qlab can handle
> > ambisonics, right?
> > > I found this about Qlab and ambisonics but it involves Reaper
> > https://forum.cockos.com/showthread.php?t=161556 <
> > https://forum.cockos.com/showthread.php?t=161556>
> > >
> > > I’m used to do the different layers of sound design in different
> > sessions and combining them afterwards but this time I will try and make
> > all three in the same session…in logic.
> > >
> > > I also have sound particles but it is stand alone and I might use for
> > some odd stuff.
> > >
> > > So - what do you recommend?
> > > And what do see as problems/issues?
> > >
> > > I’m sorry for taking your (holliday) time but I need someone to says:
> > Buy or get this software and do this - and you´re good :-)
> > > And I know I’m addressing my questions to a forum of people how does
> far
> > more weird stuff than this :-)
> > >
> > > I hope I’ve made myself clear. If not: tell me.
> > >
> > > Med venlig hilsen/Best regards
> > >
> > > Søren Bendixen
> > > Composer/Sound Designer/Producer
> > >
> > > Winner of Monitor Industry Award 2016 for the exhibition “Gladiator”,
> At
> > Moesgaard Museum
> > >
> > > New album Music for exhibitions out 15 January 2017
> > >
> > >
> > >
> > >
> > >
> > > Company: Søren Bendixen & Anette Krag
> > > soerenbendi...@gmail.com
> > > +45 60624394
> > > www.soerenbendixen.com
> > > Facebook
> > > Soundcloud
> > >
> > >
> > >
> > >
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>
> --
> Dr. Augustine Leudar
> Artistic Director Magik Door LTD
> Company Number : NI635217
> Registered 63 Ballycoan rd,
> Belfast BT88LL
> www.magikdoor.net
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--
As of 1st October 2012, I have retired from the University.
These are my own views and may or may not be shared by the University
Dave Malham
Honorary Fellow, Department of Music
The University of York
York YO10 5DD
UK
'Ambisonics - Component Imaging for Audio'
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