Ambisonics: Getting the Best Surround Around
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Ambisonics: Getting the Best Surround Around

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This presentation, created for the 2007 Audio Engineering Society UK Conference, describes how to distribute superior Ambisonic surround-sound audio content in a way that maximises its accessibility ...

This presentation, created for the 2007 Audio Engineering Society UK Conference, describes how to distribute superior Ambisonic surround-sound audio content in a way that maximises its accessibility by requiring only standard surround replay equipment. It's a longer version of Part 4 of my Ionian University presentations.

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  • Intro slide. On screen as early as possible.\nLeft click adds points/advances slide. Right-click removes points/goes to previous slide.\n
  • Mouse click to add each new point on a slide, as well as advancing slides. First click here brings up Gerzon pic; click immediately again to bring up 1st point. Then, 3 points skipping over Ambisonic principles. Go as fast as possible.\n
  • Mouse click to add each new point on a slide, as well as advancing slides. First click here brings up Gerzon pic; click immediately again to bring up 1st point. Then, 3 points skipping over Ambisonic principles. Go as fast as possible.\n
  • Mouse click to add each new point on a slide, as well as advancing slides. First click here brings up Gerzon pic; click immediately again to bring up 1st point. Then, 3 points skipping over Ambisonic principles. Go as fast as possible.\n
  • Mouse click to add each new point on a slide, as well as advancing slides. First click here brings up Gerzon pic; click immediately again to bring up 1st point. Then, 3 points skipping over Ambisonic principles. Go as fast as possible.\n
  • Mouse click to add each new point on a slide, as well as advancing slides. First click here brings up Gerzon pic; click immediately again to bring up 1st point. Then, 3 points skipping over Ambisonic principles. Go as fast as possible.\n
  • Contrasts B-Format and UHJ. Three points (one main which comes up with slide). Go through as far as possible.\n
  • Contrasts B-Format and UHJ. Three points (one main which comes up with slide). Go through as far as possible.\n
  • Contrasts B-Format and UHJ. Three points (one main which comes up with slide). Go through as far as possible.\n
  • Conventional mic-based view of Ambisonics. Just the one point, on long enough to say it. Slide comes up complete.\n
  • “Why is Ambisonic Mixing important?” Say this and then click to bring up point 1: Because most music is done that way. Isotropic = gives equal precedent from sounds coming from all directions - important for artificial soundfields. ‘AMG’ is us of course. 3 points. An old picture of RE.\n
  • “Why is Ambisonic Mixing important?” Say this and then click to bring up point 1: Because most music is done that way. Isotropic = gives equal precedent from sounds coming from all directions - important for artificial soundfields. ‘AMG’ is us of course. 3 points. An old picture of RE.\n
  • “Why is Ambisonic Mixing important?” Say this and then click to bring up point 1: Because most music is done that way. Isotropic = gives equal precedent from sounds coming from all directions - important for artificial soundfields. ‘AMG’ is us of course. 3 points. An old picture of RE.\n
  • Other methods of Ambisonic distro: not appropriate for one reason or another. 4 points (two main). MLP = Meridian Lossless Packing.\n
  • Other methods of Ambisonic distro: not appropriate for one reason or another. 4 points (two main). MLP = Meridian Lossless Packing.\n
  • Other methods of Ambisonic distro: not appropriate for one reason or another. 4 points (two main). MLP = Meridian Lossless Packing.\n
  • Other methods of Ambisonic distro: not appropriate for one reason or another. 4 points (two main). MLP = Meridian Lossless Packing.\n
  • Here’s what we were looking for as an alternative. Three points\n
  • Here’s what we were looking for as an alternative. Three points\n
  • Here’s what we were looking for as an alternative. Three points\n
  • The solution we chose. Named on next slide. 3 points. When final point comes up, say “We call this...” and advance slide...\n
  • The solution we chose. Named on next slide. 3 points. When final point comes up, say “We call this...” and advance slide...\n
  • The solution we chose. Named on next slide. 3 points. When final point comes up, say “We call this...” and advance slide...\n
  • Say, “G FORMAT”\nJust the one item\n
  • So here are the advantages of this approach... 3 points\n
  • So here are the advantages of this approach... 3 points\n
  • So here are the advantages of this approach... 3 points\n
  • ...and here are the drawbacks. 5 points (first has a sub): you may be able to get B-Format back from G, then decode Ambisonically and get this benefit back. Needs reversible shelf filters. \n
  • ...and here are the drawbacks. 5 points (first has a sub): you may be able to get B-Format back from G, then decode Ambisonically and get this benefit back. Needs reversible shelf filters. \n
  • ...and here are the drawbacks. 5 points (first has a sub): you may be able to get B-Format back from G, then decode Ambisonically and get this benefit back. Needs reversible shelf filters. \n
  • ...and here are the drawbacks. 5 points (first has a sub): you may be able to get B-Format back from G, then decode Ambisonically and get this benefit back. Needs reversible shelf filters. \n
  • ...and here are the drawbacks. 5 points (first has a sub): you may be able to get B-Format back from G, then decode Ambisonically and get this benefit back. Needs reversible shelf filters. \n
  • This section addresses the challenges one by one. First, the decode array: why we chose four-square. One point plus sub\n
  • This section addresses the challenges one by one. First, the decode array: why we chose four-square. One point plus sub\n
  • Why ITU was not what we chose. 3 points. “ITU” stays up from last slide.\n
  • Why ITU was not what we chose. 3 points. “ITU” stays up from last slide.\n
  • Why ITU was not what we chose. 3 points. “ITU” stays up from last slide.\n
  • Rectangular array - two points\n
  • Rectangular array - two points\n
  • Aspect rations. Initial question answered on next slide. 2 points\n
  • Aspect rations. Initial question answered on next slide. 2 points\n
  • Aspect rations. Initial question answered on next slide. 2 points\n
  • We don’t know whether the listening room will be narrow or wide: a square target minimises the likely error.\n
  • We don’t know whether the listening room will be narrow or wide: a square target minimises the likely error.\n
  • We don’t know whether the listening room will be narrow or wide: a square target minimises the likely error.\n
  • The difference between target and listener arrays. 5 points!\n
  • The difference between target and listener arrays. 5 points!\n
  • The difference between target and listener arrays. 5 points!\n
  • The difference between target and listener arrays. 5 points!\n
  • The difference between target and listener arrays. 5 points!\n
  • Source material - 5 points. Question of effectiveness of UHJ decodes.\n
  • Source material - 5 points. Question of effectiveness of UHJ decodes.\n
  • Source material - 5 points. Question of effectiveness of UHJ decodes.\n
  • Source material - 5 points. Question of effectiveness of UHJ decodes.\n
  • Source material - 5 points. Question of effectiveness of UHJ decodes.\n
  • Decoder choice. 6 points\n
  • Decoder choice. 6 points\n
  • Decoder choice. 6 points\n
  • Decoder choice. 6 points\n
  • Decoder choice. 6 points\n
  • Decoder choice. 6 points\n
  • Criteria for a release medium and its coding. 6 points.\n
  • Criteria for a release medium and its coding. 6 points.\n
  • Criteria for a release medium and its coding. 6 points.\n
  • Criteria for a release medium and its coding. 6 points.\n
  • Criteria for a release medium and its coding. 6 points.\n
  • Criteria for a release medium and its coding. 6 points.\n
  • Dolby Digital - considerations (4). Discuss that there is some doubt about Dolby’s compatibility with Ambisonics - coupling may impact phase relationships.\n
  • Dolby Digital - considerations (4). Discuss that there is some doubt about Dolby’s compatibility with Ambisonics - coupling may impact phase relationships.\n
  • Dolby Digital - considerations (4). Discuss that there is some doubt about Dolby’s compatibility with Ambisonics - coupling may impact phase relationships.\n
  • Dolby Digital - considerations (4). Discuss that there is some doubt about Dolby’s compatibility with Ambisonics - coupling may impact phase relationships.\n
  • DTS - pro points (4)\n
  • DTS - pro points (4)\n
  • DTS - pro points (4)\n
  • DTS - pro points (4)\n
  • This was our choice. Again, note that Nimbus chose DTS for the DVD-Video zone of their G-Format discs.\n
  • Release medium choices #1: DVD-Video - 4 points. \n
  • Release medium choices #1: DVD-Video - 4 points. \n
  • Release medium choices #1: DVD-Video - 4 points. \n
  • Release medium choices #1: DVD-Video - 4 points. \n
  • CD-DTS considerations - 5 points\n
  • CD-DTS considerations - 5 points\n
  • CD-DTS considerations - 5 points\n
  • CD-DTS considerations - 5 points\n
  • CD-DTS considerations - 5 points\n
  • 3 points - refer to early experiments where we had a test version of Stereotomy made for us.\n
  • 3 points - refer to early experiments where we had a test version of Stereotomy made for us.\n
  • 3 points - refer to early experiments where we had a test version of Stereotomy made for us.\n
  • 4 points. Refer to Boots Audio project. Started with UHJ.\n
  • 4 points. Refer to Boots Audio project. Started with UHJ.\n
  • 4 points. Refer to Boots Audio project. Started with UHJ.\n
  • 4 points. Refer to Boots Audio project. Started with UHJ.\n
  • Then some B Format sources - even better.\n
  • Then some B Format sources - even better.\n
  • Then some B Format sources - even better.\n
  • Then we processed some complete discs and refined the workflow. Details are in the paper. All points come up at once; click to display Surprise album cover and again for Stereotomy\n
  • Then we processed some complete discs and refined the workflow. Details are in the paper. All points come up at once; click to display Surprise album cover and again for Stereotomy\n
  • Then we were very kindly offered an original B-Format Nimbus recording to try. Thanks to Crac Downes at Nimbus. You can hear some of this in the Council Room demos. 2 points. \n
  • Then we were very kindly offered an original B-Format Nimbus recording to try. Thanks to Crac Downes at Nimbus. You can hear some of this in the Council Room demos. 2 points. \n
  • Then we were very kindly offered an original B-Format Nimbus recording to try. Thanks to Crac Downes at Nimbus. You can hear some of this in the Council Room demos. 2 points. \n
  • Further development of workflow to allow processing of one (series of) files. 3 points. Noise bursts due to dts decoder de-muting.\n
  • Further development of workflow to allow processing of one (series of) files. 3 points. Noise bursts due to dts decoder de-muting.\n
  • Further development of workflow to allow processing of one (series of) files. 3 points. Noise bursts due to dts decoder de-muting.\n
  • 6 points. Covered in much more detail in the paper. “Disentangle” means to turn multichannel WAV files into individual mono files as our apps don’t work with the former.\n
  • What we intend to do next.\n
  • \n
  • \n
  • \n
  • \n

Ambisonics: Getting the Best Surround Around Ambisonics: Getting the Best Surround Around Presentation Transcript

  • Getting the BestSurround Around Peter Carbines & Richard Elen Pyramedia Productions
  • Ambisonics
  • Ambisonics View slide
  • Ambisonics• Invented by Michael Gerzon and associates in the 1970s. View slide
  • Ambisonics• Invented by Michael Gerzon and associates in the 1970s.• Is not based on ‘one channel/one speaker’:
  • Ambisonics• Invented by Michael Gerzon and associates in the 1970s.• Is not based on ‘one channel/one speaker’:• Instead, soundfield is captured or created, transmitted and rendered at the listening end for the speaker array available.
  • Ambisonics• Invented by Michael Gerzon and associates in the 1970s.• Is not based on ‘one channel/one speaker’:• Instead, soundfield is captured or created, transmitted and rendered at the listening end for the speaker array available.• Analogous to a Postscript file/printer.
  • Ambisonics• Two methods of transmission:
  • Ambisonics• Two methods of transmission: • B-Format (the studio format): sum & difference channels.
  • Ambisonics• Two methods of transmission: • B-Format (the studio format): sum & difference channels. • UHJ stereo-compatible matrix: (typically 2-channel UHJ).
  • Ambisonics• The conventional view: “Ambisonics is recorded with a special microphone/array.”
  • Ambisonic Mixing
  • Ambisonic Mixing• The vast majority of popular music is mixed from multitrack.
  • Ambisonic Mixing• The vast majority of popular music is mixed from multitrack.• Ambisonics is particularly good at this: for example, it’s isotropic.
  • Ambisonic Mixing• The vast majority of popular music is mixed from multitrack.• Ambisonics is particularly good at this: for example, it’s isotropic.• Main interest of ‘Ambisonic Mixing Group’.
  • Discounted optionsfor distributing Ambisonic recordings
  • Discounted options for distributing Ambisonic recordings• MLP can carry B-Format and offer flags for DVD-Audio, HD discs
  • Discounted options for distributing Ambisonic recordings• MLP can carry B-Format and offer flags for DVD-Audio, HD discs • …sorry, not very many people can play them.
  • Discounted options for distributing Ambisonic recordings• MLP can carry B-Format and offer flags for DVD-Audio, HD discs • …sorry, not very many people can play them.• Downloadable Ambisonic files and software players
  • Discounted options for distributing Ambisonic recordings• MLP can carry B-Format and offer flags for DVD-Audio, HD discs • …sorry, not very many people can play them.• Downloadable Ambisonic files and software players • …here or on the way – but not yet widespread.
  • Goalsfor distributing Ambisonic recordings
  • Goals for distributing Ambisonic recordings• Method must be available now, today.
  • Goals for distributing Ambisonic recordings• Method must be available now, today.• Everyone (with a surround system) can listen.
  • Goals for distributing Ambisonic recordings• Method must be available now, today.• Everyone (with a surround system) can listen.• Easy and cheap to originate content.
  • The Answer… Decoding in the studio
  • The Answer… Decoding in the studio• Decode Ambisonics to speaker feeds.
  • The Answer… Decoding in the studio• Decode Ambisonics to speaker feeds.• Place the speaker feeds signals on a conventional multichannel medium (eg DVD).
  • The Answer… Decoding in the studio• Decode Ambisonics to speaker feeds.• Place the speaker feeds signals on a conventional multichannel medium (eg DVD).• This is called…
  • G-Format Decoding Ambisonics in the studio G…to 5.1-compatible multichannel surround.
  • G-Format Advantages
  • G-Format Advantages• Anyone can play it (if you choose popular encoding and distribution formats).
  • G-Format Advantages• Anyone can play it (if you choose popular encoding and distribution formats).• Producer controls the decoding process.
  • G-Format Advantages• Anyone can play it (if you choose popular encoding and distribution formats).• Producer controls the decoding process.• High quality decoder can be used, correctly configured.
  • G-Format Challenges
  • G-Format Challenges• Lose the ability to render for your replay array (a primary Ambisonic benefit).
  • G-Format Challenges• Lose the ability to render for your replay array (a primary Ambisonic benefit). • With some caveats, decode can be reversible.
  • G-Format Challenges• Lose the ability to render for your replay array (a primary Ambisonic benefit). • With some caveats, decode can be reversible.• What array do you decode to?
  • G-Format Challenges• Lose the ability to render for your replay array (a primary Ambisonic benefit). • With some caveats, decode can be reversible.• What array do you decode to?• Decoder target array and listener array may be different.
  • G-Format Challenges• Lose the ability to render for your replay array (a primary Ambisonic benefit). • With some caveats, decode can be reversible.• What array do you decode to?• Decoder target array and listener array may be different.• Possible risk of audio and/or localisation degradation if lossy compression used.
  • G-Format What decode array? N• C ITU? L R 30º 100–120º Ls Rs
  • G-Format What decode array? N• C ITU? L R • Decoding Ambisonics 30º to ITU 5.1 is technically possible. 100–120º Ls Rs
  • G-Format What decode array? N• C ITU? L R• Living rooms 30º aren’t good 100–120º for ITU. Ls Rs
  • G-Format What decode array? N• C ITU? L R• Living rooms 30º aren’t good 100–120º for ITU.• We have Ls Rs rectangular living rooms.
  • G-Format Decode array N L R• Rectangular Array. Ls Rs
  • G-Format Decode array N L R• Rectangular Array. • A standard Ambisonic configuration. Ls Rs
  • G-Format Decode array• But narrow N or wide? L R Ls Rs
  • G-Format Decode array• But narrow N or wide? L R• 4-speaker Ambisonics supports side ratios between 1:2 & 2:1 Ls Rs
  • G-Format Decode array• We don’t know. N L R Ls Rs
  • G-Format Decode array• We don’t know. N• A square layout L R minimises likely errors. Ls Rs
  • G-Format Decode array• We don’t know. N• A square layout L R minimises likely errors.• Nimbus also found square best. Ls Rs
  • G-FormatDecoder array and listener array may be different. N L R Ls Rs
  • G-FormatDecoder array and listener array may be different. • Fronts wider than ITU; N L R Ls Rs
  • G-FormatDecoder array and listener array may be different. • Fronts wider than ITU; N • Rears are narrower. L R Ls Rs
  • G-FormatDecoder array and listener array may be different. • Fronts wider than ITU; N • Rears are narrower. L R • But listeners may well not have ITU! Ls Rs
  • G-FormatDecoder array and listener array may be different. • Fronts wider than ITU; N • Rears are narrower. L R • But listeners may well not have ITU! • Ambisonics is robust. Ls Rs
  • G-FormatDecoder array and listener array may be different. • Fronts wider than ITU; N • Rears are narrower. L R • But listeners may well not have ITU! • Ambisonics is robust. • CF is not essential (LFE not needed Ls Rs at all!).
  • G-Format Sources B-Format or 2-ch UHJ?
  • G-Format Sources B-Format or 2-ch UHJ?• Very little B-format originally (No multitrack mastering capability)
  • G-Format Sources B-Format or 2-ch UHJ?• Very little B-format originally (No multitrack mastering capability) • This is now changing.
  • G-Format Sources B-Format or 2-ch UHJ?• Very little B-format originally (No multitrack mastering capability) • This is now changing.• UHJ recordings are very common.
  • G-Format Sources B-Format or 2-ch UHJ?• Very little B-format originally (No multitrack mastering capability) • This is now changing.• UHJ recordings are very common. • How would they stand up against modern multichannel?
  • G-Format Sources B-Format or 2-ch UHJ?• Very little B-format originally (No multitrack mastering capability) • This is now changing.• UHJ recordings are very common. • How would they stand up against modern multichannel? • Nimbus showed SFM recordings work. What about Ambisonic mixes?
  • What decoder?
  • What decoder?• Decode needed to be done in software.
  • What decoder?• Decode needed to be done in software.• Several decoders available on-line (see www.ambisonic.net → tools).
  • What decoder?• Decode needed to be done in software.• Several decoders available on-line (see www.ambisonic.net → tools).• We chose Ambisonic.exe written by Rhonda Wilson at Meridian Audio.
  • What decoder?• Decode needed to be done in software.• Several decoders available on-line (see www.ambisonic.net → tools).• We chose Ambisonic.exe written by Rhonda Wilson at Meridian Audio. • Originally created for Nimbus.
  • What decoder?• Decode needed to be done in software.• Several decoders available on-line (see www.ambisonic.net → tools).• We chose Ambisonic.exe written by Rhonda Wilson at Meridian Audio. • Originally created for Nimbus. • UHJ and B-Format capability.
  • What decoder?• Decode needed to be done in software.• Several decoders available on-line (see www.ambisonic.net → tools).• We chose Ambisonic.exe written by Rhonda Wilson at Meridian Audio. • Originally created for Nimbus. • UHJ and B-Format capability. • Decodes to a rectangle (2:1 – 1:2).
  • Release coding & media Requirements
  • Release coding & media Requirements • Available now.
  • Release coding & media Requirements • Available now. • Not a future system.
  • Release coding & media Requirements • Available now. • Not a future system. • Thus not surround downloads (ie must be a ‘packaged medium’).
  • Release coding & media Requirements • Available now. • Not a future system. • Thus not surround downloads (ie must be a ‘packaged medium’). • Widely supported.
  • Release coding & media Requirements • Available now. • Not a future system. • Thus not surround downloads (ie must be a ‘packaged medium’). • Widely supported. • Must be popular and widespread.
  • Release coding & media Requirements • Available now. • Not a future system. • Thus not surround downloads (ie must be a ‘packaged medium’). • Widely supported. • Must be popular and widespread. • Thus not SACD, DVD-A.
  • Release codingTwo choices: Dolby Digital & dts• Dolby Digital:
  • Release codingTwo choices: Dolby Digital & dts• Dolby Digital: • Extremely widespread,
  • Release codingTwo choices: Dolby Digital & dts• Dolby Digital: • Extremely widespread, • Cheap encoder.
  • Release codingTwo choices: Dolby Digital & dts• Dolby Digital: • Extremely widespread, • Cheap encoder. • Compatible with Ambisonics?
  • Release codingTwo choices: Dolby Digital & dts• dts:
  • Release codingTwo choices: Dolby Digital & dts• dts: • Very widespread,
  • Release codingTwo choices: Dolby Digital & dts• dts: • Very widespread, • Cheap encoder.
  • Release codingTwo choices: Dolby Digital & dts• dts: • Very widespread, • Cheap encoder. • Compatible with Ambisonics.
  • Release codingTwo choices: Dolby Digital & dts • dts chosen.
  • Release medium Two choices: DVD & CD• DVD-Video:
  • Release medium Two choices: DVD & CD• DVD-Video: • Authoring application required as well as surround encoder.
  • Release medium Two choices: DVD & CD• DVD-Video: • Authoring application required as well as surround encoder. • Images required (even if rudimentary).
  • Release medium Two choices: DVD & CD• DVD-Video: • Authoring application required as well as surround encoder. • Images required (even if rudimentary). • Time required to build menu structure etc.
  • Release medium Two choices: DVD & CD• CD-DTS
  • Release medium Two choices: DVD & CD• CD-DTS • Encoder costs $99 (Surcode).
  • Release medium Two choices: DVD & CD• CD-DTS • Encoder costs $99 (Surcode). • Very quick to author.
  • Release medium Two choices: DVD & CD• CD-DTS • Encoder costs $99 (Surcode). • Very quick to author. • Burn with simple PC CD-burning application (eg EAC, Nero).
  • Release medium Two choices: DVD & CD• CD-DTS • Encoder costs $99 (Surcode). • Very quick to author. • Burn with simple PC CD-burning application (eg EAC, Nero). • Very low production cost (CD-R or pressing).
  • Will G-Format work?
  • Will G-Format work?• Nimbus showed UHJ single-point mic recordings worked.
  • Will G-Format work?• Nimbus showed UHJ single-point mic recordings worked.• Early tests suggested that UHJ mixes didn’t.
  • Will G-Format work?• Nimbus showed UHJ single-point mic recordings worked.• Early tests suggested that UHJ mixes didn’t. • Luckily, early tests were wrong.
  • First test disc
  • First test disc• Started with the first Ambisonic mixes ever made…
  • First test disc• Started with the first Ambisonic mixes ever made…• …KPM Music Library tracks mixed to UHJ for the Cunard hi-fi show in 1981.
  • First test disc• Started with the first Ambisonic mixes ever made…• …KPM Music Library tracks mixed to UHJ for the Cunard hi-fi show in 1981.• Sourced initially from cassette.
  • First test disc• Started with the first Ambisonic mixes ever made…• …KPM Music Library tracks mixed to UHJ for the Cunard hi-fi show in 1981.• Sourced initially from cassette.• Success!
  • Initial results Planar B-Format
  • Initial results Planar B-Format• B-Format test recordings from www.ambisonicbootlegs.net.
  • Initial results Planar B-Format• B-Format test recordings from www.ambisonicbootlegs.net.• Mixture of SFM and digital mixes.
  • Initial results Planar B-Format• B-Format test recordings from www.ambisonicbootlegs.net.• Mixture of SFM and digital mixes.• Extremely impressive results. (UHJ and B-Format sourced demos played in the Council Room)
  • Full-length discs UHJ• Surprise Surprise• Stereotomy• KPM Library discs• Collins Classics CDs• Nimbus, Music from York …and more.
  • Full-length discs UHJ• Surprise Surprise• Stereotomy• KPM Library discs• Collins Classics CDs• Nimbus, Music from York …and more.
  • Full-length discs UHJ• Surprise Surprise• Stereotomy• KPM Library discs• Collins Classics CDs• Nimbus, Music from York …and more.
  • Full-length discs B-Format• Nimbus NI5763: Bridge, Elgar, Holst: Concertos for Cello & Orchestra Raphael Walfisch, cello; Royal Liverpool Philharmonic Orchestra conducted by Richard Dickins.
  • Full-length discs B-Format• Nimbus NI5763: Bridge, Elgar, Holst: Concertos for Cello & Orchestra Raphael Walfisch, cello; Royal Liverpool Philharmonic Orchestra conducted by Richard Dickins.• Halliday mic array at Philharmonic Hall, planar B-Format.
  • Full-length discs B-Format• Nimbus NI5763: Bridge, Elgar, Holst: Concertos for Cello & Orchestra Raphael Walfisch, cello; Royal Liverpool Philharmonic Orchestra conducted by Richard Dickins.• Halliday mic array at Philharmonic Hall, planar B-Format.
  • TweaksAdjusting the workflow
  • Tweaks Adjusting the workflow• Noise bursts between tracks an issue.
  • Tweaks Adjusting the workflow• Noise bursts between tracks an issue.• Led to assembly of complete disc master as a single CD-DTS file.
  • Tweaks Adjusting the workflow• Noise bursts between tracks an issue.• Led to assembly of complete disc master as a single CD-DTS file.• Use of .CUE files to tell burning application the TNO locations.
  • Final workflow• Assemble tracks as multichannel or individual WAV files. (Disentangle .AMB)• Concatenate with digital silence between tracks to create album file(s).• Create .CUE file and edit as required.• Decode to speaker feeds.• Encode to CD-DTS.• Burn disc from CUE file.
  • Future plans • Create new B-Format mixes… • Decode and release them!• Mastering system… VST plugins/Nuendo • Multitrack material welcome!
  • GETTING THE BEST SURROUND AROUND by Peter Carbines & Richard Elen 22nd UK Conference © Pyramedia Productions MMVII
  • GETTING THE BEST SURROUND AROUND by Peter Carbines & Richard Elen 22nd UK Conference © Pyramedia Productions MMVII
  • Audio Engineering Society 22nd UK Conference