https://ccrma.stanford.edu/mediawiki/index.php?title=Ambisonics_and_Impulse_Response&feed=atom&action=historyAmbisonics and Impulse Response - Revision history2024-03-29T06:55:42ZRevision history for this page on the wikiMediaWiki 1.24.1https://ccrma.stanford.edu/mediawiki/index.php?title=Ambisonics_and_Impulse_Response&diff=2584&oldid=prevWikimaster at 16:56, 2 October 20072007-10-02T16:56:58Z<p></p>
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<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>The goal is to define a methodology for creating speaker arrays for ambisonic playback.</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>The goal is to define a methodology for creating speaker arrays for ambisonic playback.</div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr>
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</table>Wikimasterhttps://ccrma.stanford.edu/mediawiki/index.php?title=Ambisonics_and_Impulse_Response&diff=1676&oldid=prevJsadural: /* Project Summary */2007-01-21T04:05:29Z<p><span dir="auto"><span class="autocomment">Project Summary</span></span></p>
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<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del class="diffchange diffchange-inline">Our first steps </del>is to <del class="diffchange diffchange-inline">recreate the sound field of </del>a <del class="diffchange diffchange-inline">specific room and recreate it in the CCRMA Stanford listening room.  Our challenge begins with our spherical </del>speaker <del class="diffchange diffchange-inline">configuration and what format of data, encoders, and decoders to choose from.  A standard evalutation and rating technique must be implemented in order to decide which technique to further develop.  We will then be recording impuse responses with traditional equipment and the soundfield microphone and test which technique or combination gives us the most accurate observable impulse response.  After initail experiments we will conduct actual applications with a small musical group consisting of instruments with generally higher pitch frequency </del>for <del class="diffchange diffchange-inline">localization purposes.  We will make comparisons between actual sound field </del>ambisonic <del class="diffchange diffchange-inline">recording and </del>playback <del class="diffchange diffchange-inline">with individual dry recordings convolved with our developed impulse response technique.  We will then rearrange virtual instrument configuration and test: How much we can infer about the room size and shape?  How does the different virtual instrument configurations effect the blend of music and experience for the observer?  How true is this configuration in the listening room compare to the actual reconfiguration of musicians.  We can then infer that we have developed a good technique recording that puts the listener at the performance</del>.</div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins class="diffchange diffchange-inline">The goal </ins>is to <ins class="diffchange diffchange-inline">define </ins>a <ins class="diffchange diffchange-inline">methodology for creating </ins>speaker <ins class="diffchange diffchange-inline">arrays </ins>for ambisonic playback.</div></td></tr>
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</table>Jsaduralhttps://ccrma.stanford.edu/mediawiki/index.php?title=Ambisonics_and_Impulse_Response&diff=1573&oldid=prevJsadural: /* Project Summary */2006-12-09T09:13:44Z<p><span dir="auto"><span class="autocomment">Project Summary</span></span></p>
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<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>== Project Summary ==</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>== Project Summary ==</div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">  written by Jason Sadural (jsadural@ccrma.stanford.edu)</ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">  comments and suggestions always welcomed</ins></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Our first steps is to recreate the sound field of a specific room and recreate it in the CCRMA Stanford listening room.  Our challenge begins with our spherical speaker configuration and what format of data, encoders, and decoders to choose from.  A standard evalutation and rating technique must be implemented in order to decide which technique to further develop.  We will then be recording impuse responses with traditional equipment and the soundfield microphone and test which technique or combination gives us the most accurate observable impulse response.  After initail experiments we will conduct actual applications with a small musical group consisting of instruments with generally higher pitch frequency for localization purposes.  We will make comparisons between actual sound field ambisonic recording and playback with individual dry recordings convolved with our developed impulse response technique.  We will then rearrange virtual instrument configuration and test: How much we can infer about the room size and shape?  How does the different virtual instrument configurations effect the blend of music and experience for the observer?  How true is this configuration in the listening room compare to the actual reconfiguration of musicians.  We can then infer that we have developed a good technique recording that puts the listener at the performance.</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Our first steps is to recreate the sound field of a specific room and recreate it in the CCRMA Stanford listening room.  Our challenge begins with our spherical speaker configuration and what format of data, encoders, and decoders to choose from.  A standard evalutation and rating technique must be implemented in order to decide which technique to further develop.  We will then be recording impuse responses with traditional equipment and the soundfield microphone and test which technique or combination gives us the most accurate observable impulse response.  After initail experiments we will conduct actual applications with a small musical group consisting of instruments with generally higher pitch frequency for localization purposes.  We will make comparisons between actual sound field ambisonic recording and playback with individual dry recordings convolved with our developed impulse response technique.  We will then rearrange virtual instrument configuration and test: How much we can infer about the room size and shape?  How does the different virtual instrument configurations effect the blend of music and experience for the observer?  How true is this configuration in the listening room compare to the actual reconfiguration of musicians.  We can then infer that we have developed a good technique recording that puts the listener at the performance.</div></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del style="font-weight: bold; text-decoration: none;"></del></div></td><td colspan="2"> </td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del style="font-weight: bold; text-decoration: none;"></del></div></td><td colspan="2"> </td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del style="font-weight: bold; text-decoration: none;">* written by Jason Sadural (jsadural@ccrma.stanford.edu)</del></div></td><td colspan="2"> </td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del style="font-weight: bold; text-decoration: none;">comments and suggestions always welcomed</del></div></td><td colspan="2"> </td></tr>
</table>Jsaduralhttps://ccrma.stanford.edu/mediawiki/index.php?title=Ambisonics_and_Impulse_Response&diff=1570&oldid=prevJsadural: /* Project Summary */2006-12-09T09:11:58Z<p><span dir="auto"><span class="autocomment">Project Summary</span></span></p>
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<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Our first steps is to recreate the sound field of a specific room and recreate it in the CCRMA Stanford listening room.  Our challenge begins with our spherical speaker configuration and what format of data, encoders, and decoders to choose from.  A standard evalutation and rating technique must be implemented in order to decide which technique to further develop.  We will then be recording impuse responses with traditional equipment and the soundfield microphone and test which technique or combination gives us the most accurate observable impulse response.  After initail experiments we will conduct actual applications with a small musical group consisting of instruments with generally higher pitch frequency for localization purposes.  We will make comparisons between actual sound field ambisonic recording and playback with individual dry recordings convolved with our developed impulse response technique.  We will then rearrange virtual instrument configuration and test: How much we can infer about the room size and shape?  How does the different virtual instrument configurations effect the blend of music and experience for the observer?  How true is this configuration in the listening room compare to the actual reconfiguration of musicians.  We can then infer that we have developed a good technique recording that puts the listener at the performance.</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Our first steps is to recreate the sound field of a specific room and recreate it in the CCRMA Stanford listening room.  Our challenge begins with our spherical speaker configuration and what format of data, encoders, and decoders to choose from.  A standard evalutation and rating technique must be implemented in order to decide which technique to further develop.  We will then be recording impuse responses with traditional equipment and the soundfield microphone and test which technique or combination gives us the most accurate observable impulse response.  After initail experiments we will conduct actual applications with a small musical group consisting of instruments with generally higher pitch frequency for localization purposes.  We will make comparisons between actual sound field ambisonic recording and playback with individual dry recordings convolved with our developed impulse response technique.  We will then rearrange virtual instrument configuration and test: How much we can infer about the room size and shape?  How does the different virtual instrument configurations effect the blend of music and experience for the observer?  How true is this configuration in the listening room compare to the actual reconfiguration of musicians.  We can then infer that we have developed a good technique recording that puts the listener at the performance.</div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">* written by Jason Sadural (jsadural@ccrma.stanford.edu)</ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">comments and suggestions always welcomed</ins></div></td></tr>
</table>Jsaduralhttps://ccrma.stanford.edu/mediawiki/index.php?title=Ambisonics_and_Impulse_Response&diff=1563&oldid=prevJsadural: /* Project Summary */2006-12-02T14:23:27Z<p><span dir="auto"><span class="autocomment">Project Summary</span></span></p>
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<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>== Project Summary ==</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>== Project Summary ==</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Our <del class="diffchange diffchange-inline">project </del>is to recreate <del class="diffchange diffchange-inline">an environment audially </del>and <del class="diffchange diffchange-inline">be </del> <del class="diffchange diffchange-inline">able </del>to <del class="diffchange diffchange-inline">place virtual audio sources </del>in <del class="diffchange diffchange-inline">various positions</del>.  We will be recording impuse responses with traditional equipment and <del class="diffchange diffchange-inline">compare it to data recorded through an ambisonic </del>soundfield microphone.  <del class="diffchange diffchange-inline">We hope to decode the raw data </del>of <del class="diffchange diffchange-inline">the soundfield mic to create impulse responses </del>for ambisonic playback <del class="diffchange diffchange-inline">in 16 channel </del>configuration <del class="diffchange diffchange-inline">at </del>the <del class="diffchange diffchange-inline">listening </del>room in <del class="diffchange diffchange-inline">CCRMA Stanford</del>.</div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Our <ins class="diffchange diffchange-inline">first steps </ins>is to recreate <ins class="diffchange diffchange-inline">the sound field of a specific room </ins>and <ins class="diffchange diffchange-inline">recreate it in the CCRMA Stanford listening room. </ins> <ins class="diffchange diffchange-inline">Our challenge begins with our spherical speaker configuration and what format of data, encoders, and decoders </ins>to <ins class="diffchange diffchange-inline">choose from.  A standard evalutation and rating technique must be implemented </ins>in <ins class="diffchange diffchange-inline">order to decide which technique to further develop</ins>.  We will <ins class="diffchange diffchange-inline">then </ins>be recording impuse responses with traditional equipment and <ins class="diffchange diffchange-inline">the </ins>soundfield microphone <ins class="diffchange diffchange-inline">and test which technique or combination gives us the most accurate observable impulse response</ins>.  <ins class="diffchange diffchange-inline">After initail experiments we will conduct actual applications with a small musical group consisting </ins>of <ins class="diffchange diffchange-inline">instruments with generally higher pitch frequency </ins>for <ins class="diffchange diffchange-inline">localization purposes.  We will make comparisons between actual sound field </ins>ambisonic <ins class="diffchange diffchange-inline">recording and </ins>playback <ins class="diffchange diffchange-inline">with individual dry recordings convolved with our developed impulse response technique.  We will then rearrange virtual instrument </ins>configuration <ins class="diffchange diffchange-inline">and test: How much we can infer about </ins>the room <ins class="diffchange diffchange-inline">size and shape?  How does the different virtual instrument configurations effect the blend of music and experience for the observer?  How true is this configuration </ins>in <ins class="diffchange diffchange-inline">the listening room compare to the actual reconfiguration of musicians.  We can then infer that we have developed a good technique recording that puts the listener at the performance</ins>.</div></td></tr>
</table>Jsaduralhttps://ccrma.stanford.edu/mediawiki/index.php?title=Ambisonics_and_Impulse_Response&diff=1562&oldid=prevJsadural at 20:29, 1 December 20062006-12-01T20:29:11Z<p></p>
<p><b>New page</b></p><div>== Project Summary ==<br />
<br />
Our project is to recreate an environment audially and be able to place virtual audio sources in various positions. We will be recording impuse responses with traditional equipment and compare it to data recorded through an ambisonic soundfield microphone. We hope to decode the raw data of the soundfield mic to create impulse responses for ambisonic playback in 16 channel configuration at the listening room in CCRMA Stanford.</div>Jsadural