I agree with Aaron's comments above, though I find the narrative
possibilities inherent in immersive, ambisonic and head-position-dependent
sound to have a great deal of untapped potential (both in-and-of itself as
well as in conjunction with 360-degree visuals).
On Fri, Sep 28, 2018 at 1:51 PM 'Brian Valente'
[naturerecordists] <> wrote:
>
>
> Hi Aaron
>
>
>
> Thanks for your thoughts.
>
>
>
>
>
> Regarding a =93next generation=94 type of setup, what do you think is mis=
sing.
> Is it in the mics/capture, or more in the post processing, or maybe both?
>
>
>
>
>
>
>
>
>
> Thanks
>
>
>
> Brian
>
>
>
> portfolio https://www.brianvalentephotography.com/
>
>
>
> *From:* [mailto:
>
> *Sent:* Thursday, September 27, 2018 3:27 PM
> *To:*
> *Subject:* Re: [Nature Recordists] ambisonic audio
>
>
>
>
>
> Hi Brian,
>
> I got excited at the prospect of taking an Ambisonics mic into the field
> to do the kind of 'anthropogenic'-centric soundscape recording I've done
> lots of using near-binaural mics (and some Blumlein and M/S and spaced
> omni).
>
> The tantalizing prospect was to take composed immersive sound to the next
> level, allowing and playing with, as you say, listener head
> position=96especially since platforms like YouTube and Facebook support
> headset decode and have some rudimentary HRTF synthesis...
>
> ...long story short, my enthusiasm cooled significantly when I played wit=
h
> live-decode from recordings made with second-generation tetrahedral
> ambisonics, because for people used to 'rich' stereo with a lot of subtle
> cues for e.g. depth and focused localization, the stereo image produced
> felt very vague and flat=96more like an uneven flat sphere than a three
> dimensional space, as it were.
>
> From what I understand higher-order Ambisonics fills in the 'holes' and
> gives more, but IMO what's going to be really necessary for the technique
> to work as I want is to somehow capture, and be able to "remove in post"
> the timing and maybe to some extent frequency variation characteristic of
> HRTF, and synthesize more accurately those differences for the
> realtime-rendered head position.
>
> I have vague ideas of how one might in theory attempt this, there should
> be enough information in a tetrahedral array=96and there should be ways o=
f
> e.g. using a nested double tetrahedral array at controlled spacing, maybe
> with the inner set serving as an occluding baffle...
>
> ...but that would require a lot of computation if it worked at all...
>
> ...and I'm too lazy personally to take it on. So far.
>
> But absent some kind of next-generation step up, I am myself waiting for
> more to be there before jumping... :/
>
> aaron
>
>
>
> On Thu, Sep 27, 2018 at 1:59 PM 'Brian Valente'
> [naturerecordists] <> wrote:
>
>
>
> Hi all,
>
>
>
> Is anyone experimenting or working with ambisonic audio?
>
>
>
> I see new VR microphones out there, Zoom just released a 360 mic for
> around $350
>
>
>
> I=92ve always been a fan of and recorded ambient, but I really love the i=
dea
> of putting on headphones and as the you move your head, the audio moves
> accordingly so it=92s as though you were really there
>
>
>
>
>
> I just haven=92t seen much in the way of standalone ambisonic audio or
> headphones for that purposes.
>
>
>
>
>
>
>
>
>
> Thanks
>
>
>
> Brian
>
>
>
> portfolio https://www.brianvalentephotography.com/
>
>
>
>
>
>
>
>
> --
>
> <>
> quietamerican.org
> oneminutevacation.org
>
> 83% happy
> 9% disgusted
> 6% fearful
> 2% angry
>
>
>
--
http://michaeltrommer.com/ <http://michaeltrommer.blogspot.com/>
"While a picture is worth a thousand words, a
sound is worth a thousand pictures." R. Murray Schafer via Bernie Krause.
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