The Why and How of With-Height Surround Sound Jörn Nettingsmeier freelance audio engineer Essen, Germany The Why and How of With-Height Surround Sound - Jörn Nettingsmeier Linux Audio Conference 2012, CCRMA, Stanford University 1 Your next 45 minutes on the graveyard shift this lovely Saturday morning: A bit of history ● How do we perceive elevated sound? ● Why include height at all? ● How do different methods (re-)produce height? ● A closer look at multichannel stereo techniques ● VBAP ● Ambisonics ● The Why and How of With-Height Surround Sound - Jörn Nettingsmeier Linux Audio Conference 2012, CCRMA, Stanford University 2 A bit of History German Pavillon World Expo 1970: 50 speakers in a sphere, acoustically transparent grid floor. (both images © Stockhausen Foundation for Music) The Why and How of With-Height Surround Sound - Jörn Nettingsmeier Linux Audio Conference 2012, CCRMA, Stanford University 3 A bit of History Mostly discrete routing, a bit of amplitude panning. Lots of fun with acoustics. The Why and How of With-Height Surround Sound - Jörn Nettingsmeier Linux Audio Conference 2012, CCRMA, Stanford University 4 A bit of History François Bayle's Acousmonium (Radio France): 80 different speakers spread around, for live diffusion of tape music (usually stereophonic). The Why and How of With-Height Surround Sound - Jörn Nettingsmeier Linux Audio Conference 2012, CCRMA, Stanford University 5 A bit of History François Bayle's Acousmonium (Radio France): 80 different speakers spread around, for live diffusion of tape music (usually stereophonic). The music is being diffused in real-time, usually by the composer, sitting at a mixing desk designed for the purpose. The Why and How of With-Height Surround Sound - Jörn Nettingsmeier Linux Audio Conference 2012, CCRMA, Stanford University 6 A bit of History François Bayle's Acousmonium (Radio France): 80 different speakers spread around, for live diffusion of tape music (usually stereophonic). The music is being diffused in real-time, usually by the composer, sitting at a mixing desk designed for the purpose. Speakers are chosen for their different characteristics. Localisation is part of the interpretation, but not independent of speaker positions. The Why and How of With-Height Surround Sound - Jörn Nettingsmeier Linux Audio Conference 2012, CCRMA, Stanford University 7 A bit of History François Bayle's Acousmonium (Radio France): 80 different speakers spread around, for live diffusion of tape music (usually stereophonic). The music is being diffused in real-time, usually by the composer, sitting at a mixing desk designed for the purpose. Speakers are chosen for their different characteristics. Localisation is part of the interpretation, but not independent of speaker positions. A modern-day successor is the BEAST (Birmingham Electro- Acoustic Sound Theatre). The Why and How of With-Height Surround Sound - Jörn Nettingsmeier Linux Audio Conference 2012, CCRMA, Stanford University 8 A bit of History Systems like these are not aiming at a systematic, portable approach to with-height surround. The Why and How of With-Height Surround Sound - Jörn Nettingsmeier Linux Audio Conference 2012, CCRMA, Stanford University 9 A bit of History Systems like these are not aiming at a systematic, portable approach to with-height surround. They are part of the artwork, and of the creative process. The Why and How of With-Height Surround Sound - Jörn Nettingsmeier Linux Audio Conference 2012, CCRMA, Stanford University 10

LAC 2012 - Slides: The why and how of with-height surround production in Ambisonics

Similar LAC 2012 - Slides: The why and how of with-height surround production in Ambisonics