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Spatial Sound 4: Getting the Best Surround Around
The document discusses distributing Ambisonic recordings by decoding them to conventional surround sound formats. It proposes decoding Ambisonic content to speaker feeds and distributing them on a medium like DVD that everyone can already play. This G-Format approach allows anyone to listen while letting the producer control the decoding process. While it loses some Ambisonic benefits, it makes the content widely available now using popular formats like DTS on a CD. Initial tests decoding older Ambisonic mixes to 5.1 speaker feeds were successful.
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Spatial Sound 4: Getting the Best Surround Around
- 1.
- 2. The Challenge: Distribution • Now you have your Ambisonic content, how do you get people to hear it?
- 3. In the ‘OldDays’: • Only 2-channel mass-media existed • Stereo compatibility required • Special decoder needed at home to listen • Nobody bought them and manufacturers did not build them into audio gear
- 4. Today – Moreoptions • People have multichannel digital systems • But they still don’t have decoders
- 5.
- 6. Possibilities? for distributing Ambisonic recordings • MLP can carry B-Format and offer flags for DVD-Audio, HD discs
- 7. Possibilities? 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.
- 8. Possibilities? 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
- 9. Possibilities? 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.
- 10. Possibilities? 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. • Ogg/FLAC project – support for Ambisonics?
- 11. Goals for distributing Ambisonicrecordings
- 12. Goals for distributing Ambisonic recordings • Method must be available now, today.
- 13. Goals for distributing Ambisonic recordings • Method must be available now, today. • Everyone (with a surround system) can listen.
- 14. Goals for distributing Ambisonic recordings • Method must be available now, today. • Everyone (with a surround system) can listen. • Easy and cheap to originate content.
- 15. The Answer… Decodingin the studio
- 16. The Answer… Decoding in the studio • Decode Ambisonics to speaker feeds.
- 17. The Answer… Decoding in the studio • Decode Ambisonics to speaker feeds. • Place the speaker feeds signals on a conventional multichannel medium (eg DVD).
- 18. 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…
- 19. G-Format Decoding Ambisonics in the studio G …to 5.1-compatible multichannel surround.
- 20.
- 21. G-Format Advantages • Anyone can play it (if you choose popular encoding and distribution formats).
- 22. G-Format Advantages • Anyone can play it (if you choose popular encoding and distribution formats). • Producer controls the decoding process.
- 23. 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.
- 24.
- 25. G-Format Challenges • Lose the ability to render for your replay array (a primary Ambisonic benefit).
- 26. G-Format Challenges • Lose the ability to render for your replay array (a primary Ambisonic benefit). • With some caveats, decode can be reversible.
- 27. 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?
- 28. 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.
- 29. 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.
- 30. G-Format What decode array? N • C ITU? L R 30º 100–120º Ls Rs
- 31. G-Format What decode array? N • C ITU? L R • Decoding Ambisonics 30º to ITU 5.1 is technically possible. 100–120º Ls Rs
- 32. G-Format What decode array? N • C ITU? L R • Living rooms 30º aren’t good 100–120º for ITU. Ls Rs
- 33. 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.
- 34. G-Format Decode array N L R • Rectangular Array. Ls Rs
- 35. G-Format Decode array N L R • Rectangular Array. • A standard Ambisonic configuration. Ls Rs
- 36. G-Format Decode array • But narrow N or wide? L R Ls Rs
- 37. G-Format Decode array • But narrow N or wide? L R • 4-speaker Ambisonics supports side ratios between 1:2 & 2:1 Ls Rs
- 38. G-Format Decode array • We don’t know. N L R Ls Rs
- 39. G-Format Decode array • We don’t know. N • A square layout L R minimises likely errors. Ls Rs
- 40. G-Format Decode array • We don’t know. N • A square layout L R minimises likely errors. • Nimbus also found square best. Ls Rs
- 41. G-Format Decoder array andlistener array may be different. N L R Ls Rs
- 42. G-Format Decoder array andlistener array may be different. • Fronts wider than ITU; N L R Ls Rs
- 43. G-Format Decoder array andlistener array may be different. • Fronts wider than ITU; N • Rears are narrower. L R Ls Rs
- 44. G-Format Decoder array andlistener array may be different. • Fronts wider than ITU; N • Rears are narrower. L R • But listeners may well not have ITU! Ls Rs
- 45. G-Format Decoder array andlistener 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
- 46. G-Format Decoder array andlistener 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!).
- 47. G-Format Sources B-Format or 2-ch UHJ?
- 48. G-Format Sources B-Format or 2-ch UHJ? • Very little B-format originally (No multitrack mastering capability)
- 49. G-Format Sources B-Format or 2-ch UHJ? • Very little B-format originally (No multitrack mastering capability) • This is now changing.
- 50. 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.
- 51. 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?
- 52. 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?
- 53.
- 54. What decoder? • Decodeneeded to be done in software.
- 55. What decoder? • Decodeneeded to be done in software. • Several decoders available on-line (see www.ambisonic.net → tools).
- 56. What decoder? • Decodeneeded 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.
- 57. What decoder? • Decodeneeded 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.
- 58. What decoder? • Decodeneeded 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.
- 59. What decoder? • Decodeneeded 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).
- 60. Release coding &media Requirements
- 61. Release coding &media Requirements • Available now.
- 62. Release coding &media Requirements • Available now. • Not a future system.
- 63. Release coding &media Requirements • Available now. • Not a future system. • Thus not surround downloads (ie must be a ‘packaged medium’).
- 64. Release coding &media Requirements • Available now. • Not a future system. • Thus not surround downloads (ie must be a ‘packaged medium’). • Widely supported.
- 65. 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.
- 66. 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.
- 67. Release coding Two choices:Dolby Digital & dts • Dolby Digital:
- 68. Release coding Two choices:Dolby Digital & dts • Dolby Digital: • Extremely widespread,
- 69. Release coding Two choices:Dolby Digital & dts • Dolby Digital: • Extremely widespread, • Cheap encoder.
- 70. Release coding Two choices:Dolby Digital & dts • Dolby Digital: • Extremely widespread, • Cheap encoder. • Compatible with Ambisonics?
- 71. Release coding Two choices:Dolby Digital & dts • dts:
- 72. Release coding Two choices:Dolby Digital & dts • dts: • Very widespread,
- 73. Release coding Two choices:Dolby Digital & dts • dts: • Very widespread, • Cheap encoder.
- 74. Release coding Two choices:Dolby Digital & dts • dts: • Very widespread, • Cheap encoder. • Compatible with Ambisonics.
- 75. Release coding Two choices:Dolby Digital & dts • dts chosen.
- 76. Release medium Two choices: DVD & CD • DVD-Video:
- 77. Release medium Two choices: DVD & CD • DVD-Video: • Authoring application required as well as surround encoder.
- 78. Release medium Two choices: DVD & CD • DVD-Video: • Authoring application required as well as surround encoder. • Images required (even if rudimentary).
- 79. 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.
- 80. Release medium Two choices: DVD & CD • CD-DTS
- 81. Release medium Two choices: DVD & CD • CD-DTS • Encoder costs $99 (Surcode).
- 82. Release medium Two choices: DVD & CD • CD-DTS • Encoder costs $99 (Surcode). • Very quick to author.
- 83. 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).
- 84. 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).
- 85.
- 86. Will G-Format work? •Nimbus showed UHJ single-point mic recordings worked.
- 87. Will G-Format work? •Nimbus showed UHJ single-point mic recordings worked. • Early tests suggested that UHJ mixes didn’t.
- 88. 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.
- 89.
- 90. First test disc •Started with the first Ambisonic mixes ever made…
- 91. 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.
- 92. 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.
- 93. 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!
- 94. Initial results Planar B-Format
- 95. Initial results Planar B-Format • B-Format test recordings from www.ambisonia.com.
- 96. Initial results Planar B-Format • B-Format test recordings from www.ambisonia.com. • Mixture of SFM and digital mixes.
- 97. Initial results Planar B-Format • B-Format test recordings from www.ambisonia.com. • Mixture of SFM and digital mixes. • Extremely impressive results.
- 98. Full-length discs UHJ • Surprise Surprise • Stereotomy • KPM Library discs • Collins Classics CDs • Nimbus, Music from York …and more.
- 99. Full-length discs UHJ • Surprise Surprise • Stereotomy • KPM Library discs • Collins Classics CDs • Nimbus, Music from York …and more.
- 100. Full-length discs UHJ • Surprise Surprise • Stereotomy • KPM Library discs • Collins Classics CDs • Nimbus, Music from York …and more.
- 101. 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.
- 102. 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.
- 103. 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.
- 104.
- 105. Tweaks Adjusting the workflow • Noise bursts between tracks an issue.
- 106. Tweaks Adjusting the workflow • Noise bursts between tracks an issue. • Led to assembly of complete disc master as a single CD-DTS file.
- 107. 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.
- 108. Final workflow • Assembletracks 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.
- 109. What to donext… • Create new B-Format mixes… • Decode and release them! • Mastering system… VST & AU plugins
- 110. The opportunity G Format offers Ambisonics a second life. • Recordings can be made Ambisonically and released in conventional formats.
- 111. The opportunity G Format offers Ambisonics a second life. • Recordings can be made Ambisonically and released in conventional formats.
- 112. The opportunity G Format offers Ambisonics a second life. • Recordings can be made Ambisonically and released in conventional formats. • Richard’s Second Life avatar performing some listening tests… :-)
- 113.
Editor's Notes
- #2 Intro slide. On screen as early as possible.\nLeft click adds points/advances slide. Right-click removes points/goes to previous slide.\n
- #3 \n
- #4 \n
- #5 \n
- #6 Other methods of Ambisonic distro: not appropriate for one reason or another. 4 points (two main). MLP = Meridian Lossless Packing.\n
- #7 Other methods of Ambisonic distro: not appropriate for one reason or another. 4 points (two main). MLP = Meridian Lossless Packing.\n
- #8 Other methods of Ambisonic distro: not appropriate for one reason or another. 4 points (two main). MLP = Meridian Lossless Packing.\n
- #9 Other methods of Ambisonic distro: not appropriate for one reason or another. 4 points (two main). MLP = Meridian Lossless Packing.\n
- #10 Other methods of Ambisonic distro: not appropriate for one reason or another. 4 points (two main). MLP = Meridian Lossless Packing.\n
- #11 Here’s what we were looking for as an alternative. Three points\n
- #12 Here’s what we were looking for as an alternative. Three points\n
- #13 Here’s what we were looking for as an alternative. Three points\n
- #14 The solution we chose. Named on next slide. 3 points. When final point comes up, say “We call this...” and advance slide...\n
- #15 The solution we chose. Named on next slide. 3 points. When final point comes up, say “We call this...” and advance slide...\n
- #16 The solution we chose. Named on next slide. 3 points. When final point comes up, say “We call this...” and advance slide...\n
- #17 Say, “G FORMAT”\nJust the one item\n
- #18 So here are the advantages of this approach... 3 points\n
- #19 So here are the advantages of this approach... 3 points\n
- #20 So here are the advantages of this approach... 3 points\n
- #21 ...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
- #22 ...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
- #23 ...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
- #24 ...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
- #25 ...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
- #26 This section addresses the challenges one by one. First, the decode array: why we chose four-square. One point plus sub\n
- #27 This section addresses the challenges one by one. First, the decode array: why we chose four-square. One point plus sub\n
- #28 Why ITU was not what we chose. 3 points. “ITU” stays up from last slide.\n
- #29 Why ITU was not what we chose. 3 points. “ITU” stays up from last slide.\n
- #30 Why ITU was not what we chose. 3 points. “ITU” stays up from last slide.\n
- #31 Rectangular array - two points\n
- #32 Rectangular array - two points\n
- #33 Aspect rations. Initial question answered on next slide. 2 points\n
- #34 Aspect rations. Initial question answered on next slide. 2 points\n
- #35 Aspect rations. Initial question answered on next slide. 2 points\n
- #36 We don’t know whether the listening room will be narrow or wide: a square target minimises the likely error.\n
- #37 We don’t know whether the listening room will be narrow or wide: a square target minimises the likely error.\n
- #38 We don’t know whether the listening room will be narrow or wide: a square target minimises the likely error.\n
- #39 The difference between target and listener arrays. 5 points!\n
- #40 The difference between target and listener arrays. 5 points!\n
- #41 The difference between target and listener arrays. 5 points!\n
- #42 The difference between target and listener arrays. 5 points!\n
- #43 The difference between target and listener arrays. 5 points!\n
- #44 Source material - 5 points. Question of effectiveness of UHJ decodes.\n
- #45 Source material - 5 points. Question of effectiveness of UHJ decodes.\n
- #46 Source material - 5 points. Question of effectiveness of UHJ decodes.\n
- #47 Source material - 5 points. Question of effectiveness of UHJ decodes.\n
- #48 Source material - 5 points. Question of effectiveness of UHJ decodes.\n
- #49 Decoder choice. 6 points\n
- #50 Decoder choice. 6 points\n
- #51 Decoder choice. 6 points\n
- #52 Decoder choice. 6 points\n
- #53 Decoder choice. 6 points\n
- #54 Decoder choice. 6 points\n
- #55 Criteria for a release medium and its coding. 6 points.\n
- #56 Criteria for a release medium and its coding. 6 points.\n
- #57 Criteria for a release medium and its coding. 6 points.\n
- #58 Criteria for a release medium and its coding. 6 points.\n
- #59 Criteria for a release medium and its coding. 6 points.\n
- #60 Criteria for a release medium and its coding. 6 points.\n
- #61 Dolby Digital - considerations (4). Discuss that there is some doubt about Dolby’s compatibility with Ambisonics - coupling may impact phase relationships.\n
- #62 Dolby Digital - considerations (4). Discuss that there is some doubt about Dolby’s compatibility with Ambisonics - coupling may impact phase relationships.\n
- #63 Dolby Digital - considerations (4). Discuss that there is some doubt about Dolby’s compatibility with Ambisonics - coupling may impact phase relationships.\n
- #64 Dolby Digital - considerations (4). Discuss that there is some doubt about Dolby’s compatibility with Ambisonics - coupling may impact phase relationships.\n
- #65 DTS - pro points (4)\n
- #66 DTS - pro points (4)\n
- #67 DTS - pro points (4)\n
- #68 DTS - pro points (4)\n
- #69 This was our choice. Again, note that Nimbus chose DTS for the DVD-Video zone of their G-Format discs.\n
- #70 Release medium choices #1: DVD-Video - 4 points. \n
- #71 Release medium choices #1: DVD-Video - 4 points. \n
- #72 Release medium choices #1: DVD-Video - 4 points. \n
- #73 Release medium choices #1: DVD-Video - 4 points. \n
- #74 CD-DTS considerations - 5 points\n
- #75 CD-DTS considerations - 5 points\n
- #76 CD-DTS considerations - 5 points\n
- #77 CD-DTS considerations - 5 points\n
- #78 CD-DTS considerations - 5 points\n
- #79 3 points - refer to early experiments where we had a test version of Stereotomy made for us.\n
- #80 3 points - refer to early experiments where we had a test version of Stereotomy made for us.\n
- #81 3 points - refer to early experiments where we had a test version of Stereotomy made for us.\n
- #82 4 points. Refer to Boots Audio project. Started with UHJ.\n
- #83 4 points. Refer to Boots Audio project. Started with UHJ.\n
- #84 4 points. Refer to Boots Audio project. Started with UHJ.\n
- #85 4 points. Refer to Boots Audio project. Started with UHJ.\n
- #86 Then some B Format sources - even better.\n
- #87 Then some B Format sources - even better.\n
- #88 Then some B Format sources - even better.\n
- #89 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
- #90 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
- #91 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
- #92 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
- #93 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
- #94 Further development of workflow to allow processing of one (series of) files. 3 points. Noise bursts due to dts decoder de-muting.\n
- #95 Further development of workflow to allow processing of one (series of) files. 3 points. Noise bursts due to dts decoder de-muting.\n
- #96 Further development of workflow to allow processing of one (series of) files. 3 points. Noise bursts due to dts decoder de-muting.\n
- #97 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
- #98 What we intend to do next.\n
- #99 This page is a little joke. Second Life is ‘the’ virtual world with over 5 million ‘residents’.\n
- #100 This page is a little joke. Second Life is ‘the’ virtual world with over 5 million ‘residents’.\n
- #101 \n