For real 3D audio in large scale events no system that uses peripheral speaker arrays present a truly immersive solution as they overlook proximity. At best they offer 2 and a half D audio working on the surface of a sphere with limited potential to get sounds to get close to the listener. WFS offers proximity in form of focussed sources but uses far too many speakers to be practical for large scale one off events. I find it hard to see how systems with far less speakers can be based on WFS as the gaps between speakers present enough spectral problems for high frequencies even in wfs how can this be done on only 30 speakers in a huge space. The only practical solutions seems to be a form of dbap with speakers inside the array. Do any object based solutions have the ability to map to these kind of arrays ( say with speakers inside seating etc) - would be interesting.
On Friday, 1 March 2019, Stefan Schreiber <st...@mail.telepac.pt> wrote: > Just a short remark about the state of VR: > > Whereas VR has been hyped and (additionally) way too early, you could also > argue that growth is actually solid. > > So probably this is not the next “platform”, but I wouldn’t underrate the > potential either. > > (There is no question that investments in this area remain very high. It > is not my job to clarify if the spent sums can be justified or not. ;-) > > VR is an established sub-category in gaming. Education and training seem > to be promising areas for the future. > > It remains an open question if 360° video and its future forms (3DoF+, > 6DoF) will be a viable and popular area. > > Best regards > > Stefan (Schreiber) > > P.S.: I believe that the “live” film recording is mostly about recording > some form of ambience, the final sound being mixed in the studio. > > In this sense I don’t quite understand what you mean with “large scale > events”. A live recording of an open air concert? Ambisonics “alone” won’t > be good for this, granted. > > - - - - > > Citando Dave Hunt <davehuntau...@btinternet.com>: > > Hi, >> >> >> >> Financial investment is always an "objection". >> >> >> >> Professional recordists have to make a choice of what might make them an >> income, and what won't. Many high quality more standard mics cost as much >> as a Rode NTF, an Ambeo, or a Soundfield, and they may need many of the >> former and radio mics for their earning work. And then there are the top >> quality recorders and mixers, trolleys, cabling, road cases and transport, >> timecode links, and an assistant or two. >> >> >> >> The biggest budgets for location sound recording are in film. Many of >> those sets are so noisy that immersive sound recording is rarely usable. >> >> >> >> Those working at the top end are certainly earning enough to afford more >> unusual equipment. The rest of us have to be very careful. It is easy to >> spend money but some things don't even pay for themselves, let alone >> increase one's income. Some technologies move very fast, so we have to >> beware of obsolescence. There are indications that the VR expansion, which >> is probably driving the market interest in ambisonic microphones, may be >> stalling. >> >> >> >> The desire for "immersive" audio is certainly growing, and ambisonics is >> immensely useful, but it is not really right for large scale events where >> things like d&b's Soundscape, L'Acoustics LISA, Timax, and Astro Spatial >> Audio seem to be the main competitors. These are all based on Delta >> Stereophony, which can be regarded as a cut down form of Wavefield >> Synthesis. >> >> >> >> Ciao, >> >> >> >> Dave Hunt >> >> >> >> >> >> On 24 Feb 2019, at 17:00, sursound-requ...@music.vt.edu wrote: >> >> From: Stefan Schreiber <st...@mail.telepac.pt> >>> >>> Subject: Re: [Sursound] Enquiry on upmixing from 1st order ambisonics >>> to 3rd order ambisonics. >>> >>> Date: 24 February 2019 13:58:25 GMT >>> >>> To: Surround Sound discussion group <sursound@music.vt.edu> >>> >>> >>> >>> Citando Dave Hunt <davehuntau...@btinternet.com>: >>> >>> From: Politis Archontis <archontis.poli...@aalto.fi> >>>>> >>>>> Subject: Re: [Sursound] Enquiry on upmixing from 1st order ambisonics >>>>> to 3rd order ambisonics. >>>>> >>>>> Date: 22 February 2019 18:15:00 GMT >>>>> >>>>> To: Surround Sound discussion group <sursound@music.vt.edu> >>>>> >>>>> >>>>> >>>>> >>>>> >>>>> Hi David, >>>>> >>>>> >>>>> >>>>> These upmixing methods extract a lot of information from the FOA >>>>> recording that is then re-used to essentially “synthesize" the HOA >>>>> signals, >>>>> with a spatial resolution that would not be possible with the FOA >>>>> recordings. They are “active” in that sense, and signal-dependent, >>>>> compared >>>>> to the “passive" classical ambisonic decoding. Their success depends of >>>>> course on how effective is their underlying model and how robustly they >>>>> are >>>>> implemented. >>>>> >>>>> >>>>> >>>>> In that sense there isn’t necessarily a large benefit in parametric >>>>> upmixing from FOA to 3rd-order, compared to parametric decoding for >>>>> playback, since these methods can also upmix directly from FOA to, say, 40 >>>>> speakers or headphones, with their maximum sharpness. However, the HOA >>>>> upmixing could be useful for people that are working with a HOA processing >>>>> pipeline, and they want to integrate FOA or lower-order material >>>>> seamlessly. >>>>> >>>>> >>>>> >>>>> Regards, >>>>> >>>>> Archontis Politis >>>>> >>>> >>> Very few people have access to microphones beyond FOA, so that in a live >>>> recording a number of close microphones could be mixed in third order, with >>>> a FOA microphone as a "room" mic. >>>> >>> >>> I don't understand these permanent "objections". >>> >>> >>> >>> The Octomic and the Zylia ZM-1 microphones are available and well >>> priced. >>> >>> Why not just doing some investment (for a longer time), and just buy >>> one of these? >>> >>> >>> >>> COMPASS seems to be able to upsample 2nd and 3rd order to higher, so >>> you seem to have always some >>> >>> advantage. >>> >>> (To be confirmed after COMPASS gets available, of course.) >>> >>> >>> >>> From persons claiming to be professional recordists I would actually >>> expect to use up-to-date equipment. >>> >>> (The mentioned microphones don't cost more or much more than some >>> professional cameras - just to compare. >>> >>> I expect that a real photographer... you know what I mean.) >>> >>> >>> >>> Best, >>> >>> >>> >>> Stefan Schreiber >>> >> >> _______________________________________________ >> >> Sursound mailing list >> >> surso...@music.vt.eduhttps://mail.music.vt.edu/mailman/listinfo/sursound >> - unsubscribe here, edit account or options, view archives and so on. >> > -------------- next part -------------- > An HTML attachment was scrubbed... > URL: <https://mail.music.vt.edu/mailman/private/sursound/attachme > nts/20190301/8e304ab6/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. > -- Dr. Augustine Leudar Artistic Director Magik Door LTD Company Number : NI635217 Registered 63 Ballycoan rd, Belfast BT88LL www.magikdoor.net +44(0)7555784775 -------------- next part -------------- An HTML attachment was scrubbed... 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