Research Practice Experience
Ambisonics
How to use Ambisonics with reaper:
https://www.youtube.com/watch?v=NsoIqW5WJhk Bruce Wiggins explanation
General information about Ambisonics
https://www.ambisonic.net/
http://www.ambisonictoolkit.net/ Plugin to use in Reaper
http://pcfarina.eng.unipr.it/ambisonics.htm Angelo Farina webpage with examples, explanations and papers
GIF to understand how improves the Ambisonics with higher orders
https://www.brucewiggins.co.uk/Pics/AmbBinGifs/ICSA_Wiggins_Gifs.html
Anechoic Recordings
http://research.cs.aalto.fi/acoustics/virtual-acoustics/research/acoustic-measurement-and-analysis/85-anechoic-recordings.html Anechoic recordings available online
MATLAB
https://www.youtube.com/watch?v=pQtFU5YAqZI Explain convolution between polynomials.
https://www.youtube.com/watch?v=Zn7uV3Nxc6M Explain convolution using 'for'
Experience
The process of the investigation was given as was scheduled. During the development two problems appeared: one with MATLAB because the version that I had in my computer generated errors that cost me a lot to find. When I changed the version everything went wonderfully. The second problem was in the configuration of Ambisonics in Reaper. When I had the files ready, with the convolution of the two rooms, I put them in Reaper and automatically I inserted the plug-in of Ambisonics converter in the files that were ready in B-format. This caused a distortion of sounds and spatiality. Finally, I found the error, but it took me too mcuh time, so in this final part I rushed with the test. However, the experience of having heard a sound convolved with two rooms that I know was very interesting. I found that perhaps the high frequency of the Colon Theater were much more strident than they really are in the place. It would be interesting to repeat the experience with higher orders of ambisonics. When
ARUP is an architecture company that lent me the impulses registered with the SoundField microphone because I witnessed and collaborated in the measurements they made with the Colon Theater in Argentina. ARUP uses this work logic to show its clients how a room will sound. In the following video you can see the process performed. https://www.youtube.com/watch?v=QXB7FNMCKWE This process that is explained in the video is what motivated me to do this experience.
After having gone through this process, I would repeat some activities to improve the result of the investigation. One of the most serious problems of the tests carried out, is that room CH110 resonates in many frequencies, which makes it difficult to recognize which recording has lower frequencies than another because some building materials begin to vibrate. In addition, the room does not have good insulation, which sometimes makes it impossible to use if there is someone rehearsing on the ground floor. It would also be interesting to use more speakers for the experience to be able to use Ambisonics in 3D.
Eight months ago I did not know what Ambisonics was or what it sounded like, I think the research helped me understand and know different spatial configurations of speakers and understand the problems of each one. In particular, Ambisonics has the possibility of reproducing a very credible surrounding space, but it is against the fact that the sweet point is very small. That could explain why it is having commercial success on youtube and facebook 360 doing binaural conversions, and not so much with real speaker configurations. The University of York is doing a lot of development in that way and has many interesting publications to analyse. Some of them are in the folder (link bibliography)
ARUP is an architecture company that lent me the impulses registered with the SoundField microphone because I witnessed and collaborated in the measurements they made with the Colon Theater in Argentina. ARUP uses this work logic to show its clients how a room will sound. In the following video you can see the process performed. https://www.youtube.com/watch?v=QXB7FNMCKWE This process that is explained in the video is what motivated me to do this experience.
After having gone through this process, I would repeat some activities to improve the result of the investigation. One of the most serious problems of the tests carried out, is that room CH110 resonates in many frequencies, which makes it difficult to recognize which recording has lower frequencies than another because some building materials begin to vibrate. In addition, the room does not have good insulation, which sometimes makes it impossible to use if there is someone rehearsing on the ground floor. It would also be interesting to use more speakers for the experience to be able to use Ambisonics in 3D.
Eight months ago I did not know what Ambisonics was or what it sounded like, I think the research helped me understand and know different spatial configurations of speakers and understand the problems of each one. In particular, Ambisonics has the possibility of reproducing a very credible surrounding space, but it is against the fact that the sweet point is very small. That could explain why it is having commercial success on youtube and facebook 360 doing binaural conversions, and not so much with real speaker configurations. The University of York is doing a lot of development in that way and has many interesting publications to analyse. Some of them are in the folder (link bibliography)
Bibliography
Some paper and books used can found here
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