Jorn, any information would be appreciated, thank you.<br><br>Alex.<br><br><div class="gmail_quote">On Tue, Jan 20, 2009 at 8:43 PM, Jörn Nettingsmeier <span dir="ltr"><<a href="mailto:nettings@folkwang-hochschule.de">nettings@folkwang-hochschule.de</a>></span> wrote:<br>
<blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;"><div class="Ih2E3d">alex stone wrote:<br>
> Fons, just a follow up to the discussion about an orchestral placement<br>
> template, is there a definitive resource somewhere i can go to, and<br>
> learn more about ambisonics, and how this might help me to achieve the<br>
> Holy Grail of true placement recording? I've read back through your<br>
> comments about routing to A and B to achieve 'local' and overall<br>
> placement, re convolution, but i will admit i don;t understand all of it.<br>
><br>
> I'm convinced that this is a big step forward for recording in a more<br>
> realistic....'space'. But my lack of knowledge is holding me back from<br>
> being able to present the concept in a more intelligent way.<br>
<br>
</div>i'm preparing a paper for lac2009 about correct placement of spot mikes<br>
in an ambisonic 3d mix, which might be interesting to you. but it does<br>
not involve "correct" convolution reverb, which is somewhat more tricky.<br>
if you want, i'll send you a preprint as soon as i've banged it into<br>
shape - it's due by jan 29th...<br>
<br>
by fons' definition, i have an "intuitive" grasp of ambisonics. it took<br>
no black magic to attain and it is sufficient in practice to get a job<br>
done, unless you want to push limits or need to debug a system, in which<br>
case it's good to have some math wizards to ask :)<br>
consider joining the sursound mailing list, if you want to dig deeper in<br>
to ambisonics, but make sure you have an efficient mail filter :)<br>
<br>
<br>
</blockquote></div><br>