Podcasts about Ambisonics

This episode is sponsored by Berlin-based pro-audio company HOLOPLOT, which features the multi-award-winning X1 Matrix Array. X1 is software-driven, combining 3D Audio-Beamforming and Wave Field Synthesis to achieve authentic sound localisation and complete control over sound in both the vertical and horizontal axes. HOLOPLOT is pivoting the revolution in sound control, enabling the positioning of virtual loudspeakers within a space, allowing for a completely new way of designing and experiencing immersive audio on a large scale. To find more, visit holoplot.com. In this episode of the Immersive Audio Podcast, Oliver Kadel is joined by the Audio Software Developer at Audio Brewers – Alejandro Cabrera from Athens, Greece. Alejandro Cabrera is an Audio Software Developer and the Founder of Audio Brewers. Originally from Colombia, currently based in Athens, Greece. He studied Modern Music with an Emphasis in Jazz (Taller de Musics, Barcelona – Spain), BA (Hons) in Music Production and Sound Engineering (University of Wales), and MSc in Sound Design (Edinburgh Napier University). Alejandro has been developing audio tools for over 10 years, including his first Sample Library ‘kFootsteps'. While working at 8Dio Productions as a producer and later a creative director, Alejandro was involved in the development of over 100 Sample Libraries. Additionally, he participated in the development of the Sequential Dave Smith's Prophet X/XL which won the TEC Award for Best New Musical Instrument in 2019. Alejandro founded Audio Brewers in 2020, the first company to develop Virtual Instruments recorded, mixed, and delivered in Ambisonics, for dedicated immersive audio productions. We talk about their unique set of tools and features for spatial audio designed for a fast workflow for different creative applications and Alejandro explains his concept of impressionism in immersive audio. This episode was produced by Oliver Kadel and Emma Rees and included music by Rhythm Scott. For extended show notes and more information on this episode go to https://immersiveaudiopodcast.com/episode-84-alejandro-cabrera-audio-brewers/ If you enjoy the podcast and would like to show your support, please consider becoming a Patreon. Not only are you supporting us, but you will also get special access to bonus content and much more. Find out more on our official Patreon page - www.patreon.com/immersiveaudiopodcast We thank you kindly in advance! We want to hear from you! We value our community and would appreciate it if you would take our very quick survey and help us make the Immersive Audio Podcast even better: surveymonkey.co.uk/r/3Y9B2MJ Thank you! You can follow the podcast on Twitter @IAudioPodcast for regular updates and content or get in touch via podcast@1618digital.com immersiveaudiopodcast.com

A re-airing of the iMMERSE! with Charlie Morrow pilot broadcast, with a new special introduction. A special 80-minute celebration & investigation of the life & work of audio pioneer Michael Gerzon, inventor of Ambisonics & lossless audio, which revolutionized recorded sound. The podcast series launch came in conjunction with the immerse! online event: Celebration of the Vernal Equinox & Michael Gerzon on Sunday March 20, 2022. * production & audio backdrop: bart plantenga  

In deze aflevering praten we met Jelmer Althuis. Jelmer houdt zich sinds 2017 bezig met spatial audio voor XR, digitale kunst en het Web3.0. Hij doet zowel locatie opnames (Ambisonics) als studiowerk. We praten over de toepassingen voor spatial audio, over de psychologie achter geluid, over workflows en de rol + toekomst van geluid in XR producties.

Pilot broadcast of the immerse! podcast series is a special 80-minute celebration & investigation of the life & work of audio pioneer Michael Gerzon, inventor of Ambisonics & lossless audio, which revolutionized recorded sound. The podcast series launch came in conjunction with the immerse! online event: Celebration of the Vernal Equinox & Michael Gerzon on Sunday March 20, 2022.  

this episode recorded April 2, 2021

Mathias Johansson: "It's this sense of movement, this spatial aspect that's been forgotten, and you can really do a lot with that. It's a different dimension to your communication of your brand so instead of just thinking about like does it sound right also think about you know the movements."This episode has been binaural recorded, so to experience the 3D Sound Listening Experience, put on your headphones.Full Episode 19: VR For Our Ears: - Dynamic 3D Binaural Audio. How Dirac is Optimizing the Future Sound Systems to Offer the Ultimate Listening Experience.Podcast or vlog: The Power of Audio + Science + AI with Jasmine Moradi (https://www.jasminemoradi.com, Spotify, Apple Music & Google Play)Soundbites#1 The Story Behind Dirac's Mission on Changing the World of Sound Listening. (04:20)#2 Listening Fatigue: The Task of a Speaker and the Biggest Challenges with Existing Sound Systems. (09:13)#3 How Dirac is Making Bad Audio Sound Better with Software. (14:53)#4 What is 3D Binaural Audio and Ambisonics, and How does it Hack Our Brain? (17:54)#5 What You as an Audience can Expect from a 3D Binaural Sound Experience. (31:13)#6 How Head Tracking will Forever Change the Way We are Listening to Sound. (39:18)#7 How 3D Binaural Audio and Hack Tracking will Transform Virtual Experiences. (45:49)#8 3D Sound Use Cases that are Starting to Gain Momentum. (50:23)#9 Best Practices on How Brands can Use 3D Binaural Sound in their Audio Design Process. (52:47)#10 What does the Future of 3D Binaural Audio Sound Like? (55:40)#3dsound #binauralsound #dirac #signalprocessing #audio #virtual experiences #soundlisteningSupport this show http://supporter.acast.com/the-power-of-audio-science-ai. Hosted on Acast. See acast.com/privacy for more information.

My guest today is my new friend Mathias Johansson, Chief Product Officer and Co-founder of the Swedish company Dirac. Mathias has a Master of Science and a Ph.D. in Signal Processing from Uppsala University. And, it was at Uppsala University 20 years ago that Dirac was founded by Mathias and fellow PhD's students with the vision to revolutionize the way we hear sound. Sound and signal processing is at the heart of Dirac's journey.Today, the company delivers optimized sound for mobiles, VR, AR, auto-motives, residential and commercial environments. Mathias is deeply passionate about building great products and any advanced technology that can lead to a real change makes him tick. His current role is to define and plan new products.He and his team are making bad audio sound better with a software technology that can upgrade any sound system without expensive hardware upgrades. They are offering better, cleaner and louder sound to the many people! Dirac is "the sound pioneer" and "the complete supplier of solutions for digital audio signal processing."In this episode, Mathias and I are discussing VR for Our Ears: Dynamic 3D Binaural Audio - Optimizing future sound systems to offer the ultimate sound experience.his episode has been binaural recorded, so to experience the 3D Sound Listening Experience, put on your headphones.#1 The Story Behind Dirac's Mission on Changing the World of Sound Listening. (04:20)#2 Listening Fatigue: The Task of a Speaker and the Biggest Challenges with Existing Sound Systems. (09:13)#3 How Dirac is Making Bad Audio Sound Better with Software. (14:53)#4 What is 3D Binaural Audio and Ambisonics, and How does it Hack Our Brain? (17:54)#5 What You as an Audience can Expect from a 3D Binaural Sound Experience. (31:13)#6 How Head Tracking will Forever Change the Way We are Listening to Sound. (39:18)#7 How 3D Binaural Audio and Hack Tracking will Transform Virtual Experiences. (45:49)#8 3D Sound Use Cases that are Starting to Gain Momentum. (50:23)#9 Best Practices on How Brands can Use 3D Binaural Sound in their Audio Design Process. (52:47)#10 What does the Future of 3D Binaural Audio Sound Like? (55:40) #3dsound #binauralsound #dirac #signalprocessing #audio #virtual experiences #soundlisteningSupport this show http://supporter.acast.com/the-power-of-audio-science-ai. Hosted on Acast. See acast.com/privacy for more information.

Mathias Johansson: "We started playing around with what's called you know inversion filters to remove all this coloration from the speaker and the difference it made in those early experiments was astonishing it was huge it was like night and day, and we were like wow we had to do something with this commercially."This episode has been binaural recorded, so to experience the 3D Sound Listening Experience, put on your headphones.Full Episode 19: VR For Our Ears: - Dynamic 3D Binaural Audio. How Dirac is Optimizing the Future Sound Systems to Offer the Ultimate Listening Experience.Podcast or vlog: The Power of Audio + Science + AI with Jasmine Moradi (https://www.jasminemoradi.com, Spotify, Apple Music & Google Play)Soundbites#1 The Story Behind Dirac's Mission on Changing the World of Sound Listening. (04:20)#2 Listening Fatigue: The Task of a Speaker and the Biggest Challenges with Existing Sound Systems. (09:13)#3 How Dirac is Making Bad Audio Sound Better with Software. (14:53)#4 What is 3D Binaural Audio and Ambisonics, and How does it Hack Our Brain? (17:54)#5 What You as an Audience can Expect from a 3D Binaural Sound Experience. (31:13)#6 How Head Tracking will Forever Change the Way We are Listening to Sound. (39:18)#7 How 3D Binaural Audio and Hack Tracking will Transform Virtual Experiences. (45:49)#8 3D Sound Use Cases that are Starting to Gain Momentum. (50:23)#9 Best Practices on How Brands can Use 3D Binaural Sound in their Audio Design Process. (52:47)#10 What does the Future of 3D Binaural Audio Sound Like? (55:40) #3dsound #binauralsound #dirac #signalprocessing #audio #virtual experiences #soundlisteningSupport this show http://supporter.acast.com/the-power-of-audio-science-ai. Hosted on Acast. See acast.com/privacy for more information.

Mathias Johansson: "Speakers are really there for one reason and that's to reproduce as faithful as possible the sound that somebody has created for your ear. The idea is that you just amplify the sound it's like a perfect transparent lens to what the artist and the producer for the music has created or has intended for you and the idea is to bring that to your ear".This episode has been binaural recorded, so to experience the 3D Sound Listening Experience, put on your headphones.Full Episode 19: VR For Our Ears: - Dynamic 3D Binaural Audio. How Dirac is Optimizing the Future Sound Systems to Offer the Ultimate Listening Experience.Podcast or vlog: The Power of Audio + Science + AI with Jasmine Moradi (https://www.jasminemoradi.com, Spotify, Apple Music & Google Play)Soundbites#1 The Story Behind Dirac's Mission on Changing the World of Sound Listening. (04:20)#2 Listening Fatigue: The Task of a Speaker and the Biggest Challenges with Existing Sound Systems. (09:13)#3 How Dirac is Making Bad Audio Sound Better with Software. (14:53)#4 What is 3D Binaural Audio and Ambisonics, and How does it Hack Our Brain? (17:54)#5 What You as an Audience can Expect from a 3D Binaural Sound Experience. (31:13)#6 How Head Tracking will Forever Change the Way We are Listening to Sound. (39:18)#7 How 3D Binaural Audio and Hack Tracking will Transform Virtual Experiences. (45:49)#8 3D Sound Use Cases that are Starting to Gain Momentum. (50:23)#9 Best Practices on How Brands can Use 3D Binaural Sound in their Audio Design Process. (52:47)#10 What does the Future of 3D Binaural Audio Sound Like? (55:40)#3dsound #binauralsound #dirac #signalprocessing #audio #virtual experiences #soundlisteningSupport this show http://supporter.acast.com/the-power-of-audio-science-ai. Hosted on Acast. See acast.com/privacy for more information.

Mathias Johansson: "The first thing we do is that we always measure the speaker or the headphone acoustically, we send out frequency sweeps, so we check all the different frequencies, and then we measure in various microphone positions how this speaker or headphone reproduces the sound, so we get really an acoustical fingerprint".This episode has been binaural recorded, so to experience the 3D Sound Listening Experience, put on your headphones.Full Episode 19: VR For Our Ears: - Dynamic 3D Binaural Audio. How Dirac is Optimizing the Future Sound Systems to Offer the Ultimate Listening Experience.Podcast or vlog: The Power of Audio + Science + AI with Jasmine Moradi (https://www.jasminemoradi.com, Spotify, Apple Music & Google Play)Soundbites#1 The Story Behind Dirac's Mission on Changing the World of Sound Listening. (04:20)#2 Listening Fatigue: The Task of a Speaker and the Biggest Challenges with Existing Sound Systems. (09:13)#3 How Dirac is Making Bad Audio Sound Better with Software. (14:53)#4 What is 3D Binaural Audio and Ambisonics, and How does it Hack Our Brain? (17:54)#5 What You as an Audience can Expect from a 3D Binaural Sound Experience. (31:13)#6 How Head Tracking will Forever Change the Way We are Listening to Sound. (39:18)#7 How 3D Binaural Audio and Hack Tracking will Transform Virtual Experiences. (45:49)#8 3D Sound Use Cases that are Starting to Gain Momentum. (50:23)#9 Best Practices on How Brands can Use 3D Binaural Sound in their Audio Design Process. (52:47)#10 What does the Future of 3D Binaural Audio Sound Like? (55:40)#3dsound #binauralsound #dirac #signalprocessing #audio #virtual experiences #soundlisteningSupport this show http://supporter.acast.com/the-power-of-audio-science-ai. Hosted on Acast. See acast.com/privacy for more information.

Mathias Johansson: "The term Binaural Sound comes from the fact that we have two ears, which is very fascinating. We can still pick out locations all around us. We just have to listen to two signals entering our brains. In order to do a binaural recording you can put two microphones to your ears and play back".This episode has been binaural recorded, so to experience the 3D Sound Listening Experience, put on your headphones.Full Episode 19: VR For Our Ears: - Dynamic 3D Binaural Audio. How Dirac is Optimizing the Future Sound Systems to Offer the Ultimate Listening Experience.Podcast or vlog: The Power of Audio + Science + AI with Jasmine Moradi (https://www.jasminemoradi.com, Spotify, Apple Music & Google Play)Soundbites#1 The Story Behind Dirac's Mission on Changing the World of Sound Listening. (04:20)#2 Listening Fatigue: The Task of a Speaker and the Biggest Challenges with Existing Sound Systems. (09:13)#3 How Dirac is Making Bad Audio Sound Better with Software. (14:53)#4 What is 3D Binaural Audio and Ambisonics, and How does it Hack Our Brain? (17:54)#5 What You as an Audience can Expect from a 3D Binaural Sound Experience. (31:13)#6 How Head Tracking will Forever Change the Way We are Listening to Sound. (39:18)#7 How 3D Binaural Audio and Hack Tracking will Transform Virtual Experiences. (45:49)#8 3D Sound Use Cases that are Starting to Gain Momentum. (50:23)#9 Best Practices on How Brands can Use 3D Binaural Sound in their Audio Design Process. (52:47)#10 What does the Future of 3D Binaural Audio Sound Like? (55:40)#3dsound #binauralsound #dirac #signalprocessing #audio #virtual experiences #soundlisteningSupport this show http://supporter.acast.com/the-power-of-audio-science-ai. Hosted on Acast. See acast.com/privacy for more information.

Mathias Johansson: "It is about being there at another location. Travelling in space and time somehow. For myself I am a big NBA fan, and that is my dream scenario, as it is really expensive to get courtside tickets to the NBA finals. Why not have through 3D be able to be there virtually?".This episode has been binaural recorded, so to experience the 3D Sound Listening Experience, put on your headphones.Full Episode 19: VR For Our Ears: - Dynamic 3D Binaural Audio. How Dirac is Optimizing the Future Sound Systems to Offer the Ultimate Listening Experience.Podcast or vlog: The Power of Audio + Science + AI with Jasmine Moradi (https://www.jasminemoradi.com, Spotify, Apple Music & Google Play)Soundbites#1 The Story Behind Dirac's Mission on Changing the World of Sound Listening. (04:20)#2 Listening Fatigue: The Task of a Speaker and the Biggest Challenges with Existing Sound Systems. (09:13)#3 How Dirac is Making Bad Audio Sound Better with Software. (14:53)#4 What is 3D Binaural Audio and Ambisonics, and How does it Hack Our Brain? (17:54)#5 What You as an Audience can Expect from a 3D Binaural Sound Experience. (31:13)#6 How Head Tracking will Forever Change the Way We are Listening to Sound. (39:18)#7 How 3D Binaural Audio and Hack Tracking will Transform Virtual Experiences. (45:49)#8 3D Sound Use Cases that are Starting to Gain Momentum. (50:23)#9 Best Practices on How Brands can Use 3D Binaural Sound in their Audio Design Process. (52:47)#10 What does the Future of 3D Binaural Audio Sound Like? (55:40)#3dsound #binauralsound #dirac #signalprocessing #audio #virtual experiences #soundlisteningSupport this show http://supporter.acast.com/the-power-of-audio-science-ai. Hosted on Acast. See acast.com/privacy for more information.

Mathias Johansson: "Apple is using head tracking in their iPhone and AirPods Pro. Then they have these sensors on the ear bugs and also on the screen. Then it does the processing to track your head. It is like you are watching a movie, and you are getting a 3D sound experience".This episode has been binaural recorded, so to experience the 3D Sound Listening Experience, put on your headphones.Full Episode 19: VR For Our Ears: - Dynamic 3D Binaural Audio. How Dirac is Optimizing the Future Sound Systems to Offer the Ultimate Listening Experience.Podcast or vlog: The Power of Audio + Science + AI with Jasmine Moradi (https://www.jasminemoradi.com, Spotify, Apple Music & Google Play)Soundbites#1 The Story Behind Dirac's Mission on Changing the World of Sound Listening. (04:20)#2 Listening Fatigue: The Task of a Speaker and the Biggest Challenges with Existing Sound Systems. (09:13)#3 How Dirac is Making Bad Audio Sound Better with Software. (14:53)#4 What is 3D Binaural Audio and Ambisonics, and How does it Hack Our Brain? (17:54)#5 What You as an Audience can Expect from a 3D Binaural Sound Experience. (31:13)#6 How Head Tracking will Forever Change the Way We are Listening to Sound. (39:18)#7 How 3D Binaural Audio and Hack Tracking will Transform Virtual Experiences. (45:49)#8 3D Sound Use Cases that are Starting to Gain Momentum. (50:23)#9 Best Practices on How Brands can Use 3D Binaural Sound in their Audio Design Process. (52:47)#10 What does the Future of 3D Binaural Audio Sound Like? (55:40)#3dsound #binauralsound #dirac #signalprocessing #audio #virtual experiences #soundlisteningSupport this show http://supporter.acast.com/the-power-of-audio-science-ai. Hosted on Acast. See acast.com/privacy for more information.

Mathias Johansson: "I think that's that's something that can really make a difference. I'm looking for the first kind of virtual concert app or company that really does this well because there's so much potential there. Again you know, envision being you know recording this live concert with a really good artist in a small intimate setting, and you feel that you are at the scene".This episode has been binaural recorded, so to experience the 3D Sound Listening Experience, put on your headphones.Full Episode 19: VR For Our Ears: - Dynamic 3D Binaural Audio. How Dirac is Optimizing the Future Sound Systems to Offer the Ultimate Listening Experience.Podcast or vlog: The Power of Audio + Science + AI with Jasmine Moradi (https://www.jasminemoradi.com, Spotify, Apple Music & Google Play)Soundbites#1 The Story Behind Dirac's Mission on Changing the World of Sound Listening. (04:20)#2 Listening Fatigue: The Task of a Speaker and the Biggest Challenges with Existing Sound Systems. (09:13)#3 How Dirac is Making Bad Audio Sound Better with Software. (14:53)#4 What is 3D Binaural Audio and Ambisonics, and How does it Hack Our Brain? (17:54)#5 What You as an Audience can Expect from a 3D Binaural Sound Experience. (31:13)#6 How Head Tracking will Forever Change the Way We are Listening to Sound. (39:18)#7 How 3D Binaural Audio and Hack Tracking will Transform Virtual Experiences. (45:49)#8 3D Sound Use Cases that are Starting to Gain Momentum. (50:23)#9 Best Practices on How Brands can Use 3D Binaural Sound in their Audio Design Process. (52:47)#10 What does the Future of 3D Binaural Audio Sound Like? (55:40)#3dsound #binauralsound #dirac #signalprocessing #audio #virtual experiences #soundlisteningSupport this show http://supporter.acast.com/the-power-of-audio-science-ai. Hosted on Acast. See acast.com/privacy for more information.

Mathias Johansson: "Well clearly gaming and movies. That's for sure more. VR and AR not so much yet, but it's coming. Clearly it is coming. It is just a matter of time there's also something that is being pushed right now is 3D music".This episode has been binaural recorded, so to experience the 3D Sound Listening Experience, put on your headphones.Full Episode 19: VR For Our Ears: - Dynamic 3D Binaural Audio. How Dirac is Optimizing the Future Sound Systems to Offer the Ultimate Listening Experience.Podcast or vlog: The Power of Audio + Science + AI with Jasmine Moradi (https://www.jasminemoradi.com, Spotify, Apple Music & Google Play)Soundbites#1 The Story Behind Dirac's Mission on Changing the World of Sound Listening. (04:20)#2 Listening Fatigue: The Task of a Speaker and the Biggest Challenges with Existing Sound Systems. (09:13)#3 How Dirac is Making Bad Audio Sound Better with Software. (14:53)#4 What is 3D Binaural Audio and Ambisonics, and How does it Hack Our Brain? (17:54)#5 What You as an Audience can Expect from a 3D Binaural Sound Experience. (31:13)#6 How Head Tracking will Forever Change the Way We are Listening to Sound. (39:18)#7 How 3D Binaural Audio and Hack Tracking will Transform Virtual Experiences. (45:49)#8 3D Sound Use Cases that are Starting to Gain Momentum. (50:23)#9 Best Practices on How Brands can Use 3D Binaural Sound in their Audio Design Process. (52:47)#10 What does the Future of 3D Binaural Audio Sound Like? (55:40)#3dsound #binauralsound #dirac #signalprocessing #audio #virtual experiences #soundlisteningSupport this show http://supporter.acast.com/the-power-of-audio-science-ai. Hosted on Acast. See acast.com/privacy for more information.

Mathias Johansson: "I think that if we look at 1500 years probably neural audio. Why should we have you know speakers and headphones? Why don't we just go directly connect to your brains electrically? There's already experiments being done".This episode has been binaural recorded, so to experience the 3D Sound Listening Experience, put on your headphones.Full Episode 19: VR For Our Ears: - Dynamic 3D Binaural Audio. How Dirac is Optimizing the Future Sound Systems to Offer the Ultimate Listening Experience.Podcast or vlog: The Power of Audio + Science + AI with Jasmine Moradi (https://www.jasminemoradi.com, Spotify, Apple Music & Google Play)Soundbites#1 The Story Behind Dirac's Mission on Changing the World of Sound Listening. (04:20)#2 Listening Fatigue: The Task of a Speaker and the Biggest Challenges with Existing Sound Systems. (09:13)#3 How Dirac is Making Bad Audio Sound Better with Software. (14:53)#4 What is 3D Binaural Audio and Ambisonics, and How does it Hack Our Brain? (17:54)#5 What You as an Audience can Expect from a 3D Binaural Sound Experience. (31:13)#6 How Head Tracking will Forever Change the Way We are Listening to Sound. (39:18)#7 How 3D Binaural Audio and Hack Tracking will Transform Virtual Experiences. (45:49)#8 3D Sound Use Cases that are Starting to Gain Momentum. (50:23)#9 Best Practices on How Brands can Use 3D Binaural Sound in their Audio Design Process. (52:47)#10 What does the Future of 3D Binaural Audio Sound Like? (55:40)#3dsound #binauralsound #dirac #signalprocessing #audio #virtual experiences #soundlisteningSupport this show http://supporter.acast.com/the-power-of-audio-science-ai. Hosted on Acast. See acast.com/privacy for more information.

In this episode of the Immersive Audio Podcast, Oliver Kadel is joined by senior academics of University of Derby Dr Bruce Wiggins and Duncan Werner via Zoom from Derbyshire, UK. Dr Bruce Wiggins graduated with a 1st class honours in Music Technology and Audio System Design from the University of Derby in 1999.  His interest in audio signal processing spurred him to continue at Derby completing his PhD entitled "An Investigation into the Real-time Manipulation and Control of 3D Sound Fields" in 2004 where he solved the problem of generating Ambisonic decoders for irregular speaker arrays and looked at the optimisation of binaural/transaural systems.  Bruce's research into Ambisonics has been featured as an impact case study in the national Research Excellence Framework in 2014 and will be again in 2021.  His latest work is based around the auralisation of rooms to very high order Ambisonics with head-tracking. Duncan Werner graduated from Aston University in Electrical/Electronic Engineering in the late seventies, but as a keen musician moved towards the music industry gaining work as a recording and touring musician in the UK and Europe, subsequently being employed by the London-based Chrysalis Music Group as studio sound engineer. This was followed by postgraduate Music Technology studies at City University London. Research interests include immersive music production, in particular the GASP system (Guitars with Ambisonic Spatial Performance) based at the University of Derby. He has been programme leader for BSc Music Technology since its inception in 1995 and is currently Programme Leader for MA Music Production. In this episode, we dive into the collaborative project GASP (Guitars with Ambisonic Spatial Performance), discuss the Sound in Space Symposium, and current research projects for immersive audio. This episode was produced by Oliver Kadel and Michelle Chan with the help of Emma Rees and included music by Knobs Bergamo. For extended show notes and more information on this episode go to https://www.1618digital.com/immersive-audio-podcast-episode-40-bruce-wiggins-duncan-werner-university-of-derby-gasp/ We want to hear from you! We value our community and would appreciate it if you would take our very quick survey and help us make the Immersive Audio Podcast even better: surveymonkey.co.uk/r/3Y9B2MJ Thank you! You can follow the podcast on Twitter @IAudioPodcast for regular updates and content. You can also follow us on Facebook and Instagram @1618digital. If you have any comments or questions, get in touch via podcast@1618digital.com

"La musica 8D non è rivoluzione ma nemmeno una cavolata" | TECNOLOGIASu Radio IT è stato nostro ospite Gigio Rancilio, caporedattore di Avvenire e giornalista molto competente su temi digitali e musicali. Con lui abbiamo parlato di musica 8D, fenomeno social del momento. Presentata come una rivoluzione per le modalità di ascolto, è invece vista da molti come una cavolata (Fantozzi avrebbe usato un'altra parola). Con Gigio abbiamo cercato di capire chi abbia ragione, trovando una terza ipotesi.La raccontiamo in questo podcast: buon ascolto!Altri contenuti su www.radioit.it

TECNOLOGIA - "La musica 8D non è rivoluzione ma nemmeno una cavolata" Su Radio IT è stato nostro ospite Gigio Rancilio, caporedattore di Avvenire e giornalista molto competente su temi digitali e musicali. Con lui abbiamo parlato di musica 8D, fenomeno social del momento. Presentata come una rivoluzione per le modalità di ascolto, è invece vista da molti come una cavolata (Fantozzi avrebbe usato un'altra parola). Con Gigio abbiamo cercato di capire chi abbia ragione, trovando una terza ipotesi. La raccontiamo in questo podcast: buon ascolto! Altri contenuti su www.radioit.it

TECNOLOGIA - "La musica 8D non è rivoluzione ma nemmeno una cavolata"Su Radio IT è stato nostro ospite Gigio Rancilio, caporedattore di Avvenire e giornalista molto competente su temi digitali e musicali. Con lui abbiamo parlato di musica 8D, fenomeno social del momento. Presentata come una rivoluzione per le modalità di ascolto, è invece vista da molti come una cavolata (Fantozzi avrebbe usato un'altra parola). Con Gigio abbiamo cercato di capire chi abbia ragione, trovando una terza ipotesi.La raccontiamo in questo podcast: buon ascolto!Altri contenuti su www.radioit.it

Tonight I'm joined by independent sound designer Matt Snedecor to continue talking about the technical side of audio work as we discuss The Rise Of Skywalker, sound editing, foley, LA 92, and ambisonics. Buy Matt's work here, here, and here. Show music by Reed Love and OGRE. Support the show!

The Game Jawns crew is super excited to welcome some special guests to the the table this week! Dr. Chip Linscott aka the Audio Wizard & Jordan Herron aka the Sorcerer's Apprentice join the crew as they discuss all things audio. Ambisonics, Game Music and Sound, Immersive Audio, Binaural and Tetrahedral microphones, Spatial Audio, and other incantations that add to all this magical audio talk!       Podcast Info: Host: Mitch Cook @MCook2016 (https://twitter.com/Mcook2016) Co-host: Jack Forschner @JackForschner (https://twitter.com/JackForschner) Special Guest Podcasters: Dr. Chip Linscott @  & Jordan Herron (Youtube (https://www.youtube.com/channel/UCDZbkPxlQuESBFq38u7kaYA)) Like what you hear? Don't forget to follow and share us around to others that you think might like us too! Want to interact with the Lantern Light Studios and the Game Jawns crew? Follow us directly at #GameJawns (https://twitter.com/hashtag/gamejawns?src=hashtag_click)  in your tweet so we see it! Producer: Anthony Zoccola - @AnthonyZoccola (http://twitter.com/anthonyzoccola) Audio Engineer: Steve Angello - @StephenAngello (https://twitter.com/stephenangello) Support this podcast

No doubt, fireworks are something exciting for a sound enthusiast. The impact, however to the natural world, pets and people with no interest in extremely loud detonations or certain traumas are devastating - just to talk about the acoustic aspect. In the past few years there have been many studies on the health effects of fireworks made in urban areas, but surprisingly little in rural areas or in nature reserves. What happens in such a nature reserve during at several hours of massive noise production in medium or large distances around that particular spot? In 2012 I made sound recordings during the New Year's Eve fireworks at the same spot called Flachwasserzone Mannhausen located in the Drömling Biosphere Reserve, Saxony Anhalt. For a better spatial location of the events, I have made sound recordings again - but now in a 360 ° format. So this track is a binaural version of an Ambisonics recording. Caution! There are naturally very loud peaks in the recording that could damage your hearing.

Gigi interviewed Adam Moseley, a long-time producer/mixer/engineer who is exploring new adventures in spatial audio, mixed reality, and sound technologies.  Adam also teaches at UCLA's Music Industry Program at the Herb Alpert School of Music. Adam shares the blockages and doorways from learning saxophone to a wide door into audio engineering at Trident in the UK.  He tells us how technology has touched nearly every major change in his career. He shares how designing with his synesthesia had led to his multi-dimensional "Sonic Field" perspective, beyond the speakers.   Guest: Adam Moseley   Adam Moseley is a multitalented producer, engineer, mixer, composer, music supervisor, and UCLA lecturer at the UCLA Herb Alpert School of Music. Among his many accomplishments, he establish Trident II Studios in London, and he is involved in R&D with several audio and software companies and is exploring new immersive mixing in Surround Sound and Ambisonics. Adam has built an impressive reputation for his eclectic work with solos artists, bands and in film score mixing. Credits include John Cale, Wolfmother, U2, Nikka Costa/Lenny Kravitz, Beck/Jack White, Claudio Valenzuela, Lucybell, Roxette, Maxi Priest, Richard Marx, Galliano, The Cure, Kiss, Visage, Rush, Wet Wet Wet, Ketama, Buffalo Tom, Marla Glen, The Buggles, The Blow Monkeys, AJ Croce,Jose Carreras, Michael Brecker, Talvin Singh, Branford Marsalis, Vernon Reid, Bill Bruford, Tina Turner, Baaba Maal, Earth Wind and Fire, Melba Moore, Hoagy Carmichael and Georgie Fame. Film and TV credits, that include “The Big Wedding” (Robert De Niro, Diane Keaton, Susan Sarandon, Robin Williams, Amanda Seyfried , Spike Jonze’s “I Am Here, “The Americans” (FX Channel), “True Blood” (HBO), “The Son” (AMC) and the multi award winning feature movie “The Dark Valley (2014). Various other credits include film and tv mixing with Nathan Barr, Lisbeth Scott, Matthias Weber, John Cale, Leonardo di Bernadini, Andrew Gross and Joel Douek. Website: www.adammoseley.net

Az talks to the expert Audio Engineers and Researchers Sally Kellaway and Kaushik Sunder on what the benefits of 3D audio are, where they make the most impact in VR/AR, and what improvements need to be made in the industry moving forward.

Mit unserem Gehör können wir Geräusche unmittelbar orten und identifizieren. Um diese Fähigkeit sinnvoll im Projekt nutzen zu können, gibt uns Dr. Paul Modler einen Einblick in Raumklang. Die Abteilung Medienkunst Akustik (MK Akustik) der Staatlichen Hochschule für Gestaltung (HfG) in Karlsruhe befasst sich mit elektronischer und elektroakustischer Musik, Klanginstallation und Sonifikation. Sie wird von Dr. Paul Modler geleitet, der uns in diesem Gespräch einen Einblick in Raumakustik und Techniken für räumliches Hörempfinden über Kopfhörer geben konnte. Paul Modler ist gerade von einem Besuch der Ars Electronica in Linz zurückgekehrt. Ein hervorgehobenes Event des Festivals der elektronischen Künsten war die Klangwolke einer Story mit Feuerwerk, Maschinen, Jets und Booten auf der Donau. Der Wettbewerb Prix Ars Electronica gab einen Einblick, welche aktuellen Richtungen die durchaus diskutierte Medienkunst darbietet. Nach seinem Diplom in den Ingenieurwissenschaften an der ehemaligen Universität Karlsruhe (jetzt Karlsruher Institut für Technologie (KIT)) zur Signalverarbeitung und Filterentwurf des Waveterm Synthesizer der Palm Products GmbH (PPG), gelangte Paul Modler an die University of York, wo er im Bereich der Music Technology promovierte und von dort an die Hochschule für Gestaltung in die Medienkunst geworben wurde. Seine Forschungsinteressen gehen auch in Richtung des Mehrkanaltons, insbesondere im Verfahren der Ambisonics, das nach langer Durststrecke inzwischen sogar als Raumklangformat bei YouTube Einzug gehalten hat. Die MK Sound setzt sich mit der Frage der Musikerstellung, der Definition und möglichen Instrumenten sowie der Technik, Installation und Performance in einem sehr breiten Spektrum interdisziplinär auseinander. Es gibt Lehrveranstaltungen zur analogen Tonerzeugung, wie auch die Auseinandersetzung mit neuen digitalen Einflüssen und die Abbildung analoger Synthesizern auf mobilen Geräten wie bei Korg. Die Gruppe wird auch von besuchenden Künstlern wie John Richards in Richtung Circuit Bending inspiriert. Dies führt zu faszinierenden Abschlussarbeiten wie den Atmospheric Disturbances von Lorenz Schwarz, wo Raumklang mit Plasmalautprechern künstlerisch umgesetzt wurde. Interessante Impulse entstehen auch aus der Zusammenarbeit mit weiteren Instituten und Hochschulen: So beteiligen sich auch oft Studierende des KIT an Projekten. Die Aufnahme fand im Studio 311 der MK Sound statt, wo die Gruppe einen mobilen Klangdom installiert hat, um an ambisonischen Verfahren zu arbeiten und ihn musikalisch zu nutzen. Zur Ansteuerung kommt hier die Software Zirkonium wie auch die Software des Institut de Recherche et Coordination Acoustique/Musique (IRCAM) „Spat“ zum Einsatz, sowie andere verfügbare Verräumlichungstools. Ein Aspekt ist dabei auch der Wandel der Sicht auf den Lautsprecher vom Mittel zum Zweck hin zu einem eigenständigen Musikinstrument. Die Hochschule für Gestaltung in Karlsruhe ist eingerahmt und im gleichen Haus wie das Museum für neue Kunst und das ZKM – Zentrum für Kunst und Medien und  Medienmuseum. So arbeitet die MK Sound natürlich eng mit dem von Prof. Ludger Brümmer geleiteten Institut für Musik und Akustik am ZKM zusammen. Das Institut bietet insbesondere auch der Diskussion musikalisch digitalen elektroakustischen Bereich eine Plattform und hat mit dem Klangdom im ZKM Kubus eine etablierte Referenzplattform für Raumklang. Zusammen mit der HfG wurde dazu auch 2015 das inSonic Festival zu Raumklang ausgerichtet, das sich im inSonic Festival Dezember 2017 wiederholt. Die große Bandbreite des Instituts zeigt sich auch in häufigen Kraftwerk-Konzerten bis hin zu häufigen Linux Audio Konferenzen. Der ehemalige Kraftwerk-Musiker Florian Schneider-Esleben war auch 1998 als Professor für Medienkunst und Performance an die HfG berufen. Ende letzten Jahres fand am Institut auch das Strömungen Symposium zu künstlerischer Sonifikation statt. Durch unser Gehör und Körper nehmen wir Schallwellen wahr, soweit sich diese etwa im Hörbereich von etwa 20-20kHz und einem davon abhängigen Pegel befindet.  Assoziieren wir einen Sinn oder gewisse Ästhetik in ein Geräusch, so mögen wir es als Klang bezeichnen, der Teil einer Musik sein kann. Ein Teil der Akustikempfindung wird in der Psychoakustik beschrieben, die auch sehr exakt mit der Hörbarkeit von Geräuschen und Auswirkung von Wahrnehmungen auf den Menschen analysiert. Diese Analyse hat erst den Erfolgszug der verlustbehafteten Audiokompression möglich gemacht. Für die Aufnahme von Raumklang spielt die Positionierung der Mikrofone eine besondere Rolle: Da eine Aufnahme aus allen Richtungen an einem Punkt nicht möglich ist, müssen Mikrofone mit gewissen Abstand von einander positioniert werden, wodurch der Raum diskretisiert wird. Besonders beispielhaft für die Auswirkung der Diskretisierung sind Werke von John Chowning, der die Frequenzmodulations-Synthese aus der Raumklangforschung heraus für Synthesizer patentierte. Hier erhält man an leicht unterschiedlichen Positionen mit klassischem Soundfeld Mikrofon oder mit Ambeo VR Mikrofon ein völlig anderes Konzerterlebnis. Im Rahmen einer Stereoaufnahme und -reproduktion durch Lautsprecher entstehen Phantomschallquellen um die Lautsprecher, soweit man sich exakt im Sweet Spot des Stereodreiecks befindet. Empirisch zeigt sich, dass die Verwendung von zusätzlich an die Wand gedrehten Treibern, wie beim Acoustimass-System ein immersiveres Stereoempfinden erzeugt wird. Das räumliche Empfinden im Kopf entsteht zunächst durch Intensitäts- oder Pegelunterschiede und Laufzeitunterschieden zwischen den Ohren, die vom Gehirn rekonstruiert und die virtuelle Position der Schallquellen rekonstruiert wird. Sehr individuell spielt aber auch die Kopf- und Körperform eine große Rolle, denn je nach Kopfgröße sind die Ohren unterschiedlich weit voneinander entfernt, die Ohrmuschel unterschiedlich geformt und die Schultern unterschiedlich weit entfernt. Dadurch ergeben sich eine durch frequenzabhängige Intensitäts- und Laufzeitsunterschiede resultierende Filterung, die als Head-Related Transfer Function (HRTF) bzw. Kopfübertragungsfunktion bezeichnet wird. Die Berücksichtigung dieser Abbildung führt zur binauralen Aufnahme und Reproduktion. Eine weitere Wahrnehmungsmöglichkeit ist der Raumschall, wo eine räumliche Wahrnehmung durch die Beziehung zum Raum ermöglicht wird. Daher muss man in der Stereofonie deutlich zwischen Lautsprecheraufnahmen und Kopfhöreraufnahmen unterscheiden, da die Reproduktion über Kopfhörer die Berücksichtigung der Kopfübertragungsfunktion erforderlich ist. Der Weg zu Mehrkanal-Tonsystemen führte von der Stereofonie zunächst zur Quadrofonie für Systeme mit vier Lautsprechern, die im Vergleich zum Aufwand einen begrenzten Gewinn des Raumklangs unter Einführung weiterer unerwünschter Effekte bewirkte. Da sich keine Aufzeichnungssysteme für dieses Tonsystem wirklich kommerziell durchsetzen konnten, war das System wenig verbreitet. Die sehr verwandten Dolby Surround oder 5.1-Systeme haben sich durch leichte Veränderung des Systems im Film- und Kinobereich dagegen sehr durchgesetzt. Für den Film war es sehr wichtig, dass Einführung des zentralen Center-Lautsprechers die räumliche Positionierung der Schauspieler deutlich verbessert hat, und die Verwendung von Subwoofer bzw. des LFE-Kanals auch preiswertere immersive Installationen durch Satelliten-Lautsprecher ermöglicht hat. Als großer Kritiker der Quadrofonie entwickelte Michael Gerzon 1973 mathematisch-physikalisch fundierte Ambisonics-Verfahren, um auf einer beliebigen Anzahl von Lautsprechern einen Raumklang aufnehmen, aufzeichnen und wiedergeben zu können. Während ein System nullter Ordnung mit einem einzigen Kugelmikrofon und Kugellautsprecher realisiert werden kann, sind ab erster Ordnung schon mindestens acht Lautsprecher für eine sinnvolle Reproduktion erforderlich. Leider müssten sehr viele Mikrofone für das Verfahren alle koinzident in einem Punkt positioniert werden, was mit herkömmlicher Aufnahmetechnik nicht optimal realisierbar ist, und dafür von Gerzon besondere Mikrofonkonfigurationen entwickelt wurden, die das koinzidente Signal rekonstruieren können. Im Bereich der Meteorologie gibt es Ultraschallanemometer, die tatsächlich die Luftbewegung im Raum in einem einzelnen Messraum bestimmen können, nur ist dies aktuell nur im Aufnahmebereich räumlich gemittelt bis zu 200mal pro Sekunde bis maximal in den Infraschallbereich möglich. Eine frühe berühmte und umstrittene Raumklang-Installation war der Philips Pavilion bzw. Poème électronique auf der Weltausstellung Expo 58 in Brüssel, wo die an hyperbolischen Trajektorien aufgestellten Lautsprecher als diskrete wandernde Tonquellen benutzt wurden. Zur Weltausstellung Expo 70 in Osaka entwarf Karlheinz Stockhausen für den deutschen Pavillon das Kugelauditorium, in dem die Ansteuerung der Lautsprecher durch einen Drehhebel erreicht werden konnte. Ein ähnliches Verfahren ist das Vector Based Amplitude Panning (VBAP)-Prinzip, das von Ville Pulkii 1997 wissenschaftlich ausgearbeitet wurde. Im Gegensatz zu den früheren Installationen verlangen ambisonische Verfahren sehr regelmäßige Lautsprecherpositionen, da das Verfahren ideal als Fourier-Synthese auf einer Sphäre interpretiert werden kann. Praktisch gibt es auf einer Kugeloberfläche nur wenige exakt equidistante Punktmengen auf Basis der platonischen Körper, dazu sind volle Sphären eine architektonische Herausforderung und aufgrund unseres geringen Lokalisationsfähigkeit im Vertikalen nur von begrenztem Nutzen. Daher werden die Lautsprecher nur in einer oberen Halbsphäre mit nach oben abnehmender Anzahl pro Lautsprechern im Radius installiert. Die ambisonische Raumklang-Demonstration ist ein Teil aus dem Stück „Parallel“ von Paul Modler, das bei einer Aufführung zusätzlich bewegliche Hörner und ein Wellenfeld-Array anspricht. Im Gegensatz zu Mehrkanal-Tonsystemen berücksichtigt der binaurale Raumklang die Kopfübertragungsfunktion und ist nur für die Erfahrung über Kopfhörer gedacht. Zur Erzeugung von binauralen Signalen kann man auf Kunstkopf– oder In-Ear oder Orginal-Kopf-Mikrofone (OKM) zurückgreifen. Alternativ kann man Schallquellen synthetisch über die HRTF auf die Wirkung auf die Ohren berechnen. Zur Erfassung der individuellen HRTF werden Mikrofone in die Ohren installiert und robotergesteuert Lautsprecher an verschiedene Positionen um die Versuchsperson gefahren. Die Lautsprecher spielen dann jeweils Klicks oder Chirps, um die Impulsantwort des Signals, die Head-Related Impulse Response zu bestimmen. Die HRTF ergibt sich dann als Fourier-Transformite der Impulsantwort. Alternativ können auf niedrigerem Niveau auch halbsphärische Lautsprecher wie im Klangdrom statt einer langsamen Robotersteuerung verwendet werden. Impulsantworten existieren grundsätzlich nur auf einer begrenzten Anzahl von Filterpunkten, zwischen denen nach VBAP-Prinzip auch Zwischenpunkte berechnet werden und Klänge aus beliebigen Richtungen im zwischen Punkten im Diskretisierungsgitter abgebildet werden. Eine Herausforderung bleibt die Kopfbewegung, die mit Head-Trackern für einen immersiven Eindruck berücksichtigt werden muss, man sich also zum Klang hindrehen können muss. Das ist eine entsprechende Herausforderung der Virtual Reality, wo die Bewegung des Kopfes auch unmittelbar in die Darstellung berücksichtigt werden muss. Die räumliche Abbildung von Tönen ergibt auch neue Möglichkeiten in der Sonifikation, um Informationen nicht nur klanglich unterscheidbar sondern auch räumlich lokalisiert abgebildet werden kann. Dabei ist zu berücksichtigen, dass visuelle Eindrücke akustische Ereignisse verfälschen können. Bei steigender Komplexität der verwendeten Modelle, muss das Verständnis für Sonifikation auch erlernt werden. Literatur und weiterführende Informationen S. Carlile: Psychoacoustics, Signification Handbook, Logos Publishing House, 2011. B. N. Walker, M. A. Nees: Theory of Sonification, Sonification Handbook, Logos Publishing House, 2011. A. Hunt, T. Hermann: Interactive Sonfication, Sonification Handbook, Logos Publishing House, 2011.M. A. Gerzon: Periphony: With-height sound reproduction, Journal of the Audio Engineering Society 21.1: 2-10, 1973. V. Pulkki: Virtual sound source positioning using vector base amplitude panning, Journal of the audio engineering society 45.6: 456-466, 1977. M. Noisternig, T. Musil, A. Sontacci, R. Holdrich: 3D binaural sound reproduction using a virtual ambisonic approach, Virtual Environments,  VECIMS ’03. 2003 IEEE International Symposium on Human-Computer Interfaces and Measurement Systems, 2003. Podcasts M. Völter, R. Vlek: Synthesizers, Omega Tau Podcast, Episode 237, 2017.  T. Pritlove, U. Schöneberg: CRE238 – Neuronale Netze, CRE Podcast,  Metaebene Personal Media, 2015. M. Völter, C. Osendorfer, J. Bayer: Maschinelles Lernen und Neuronale Netze, Omega Tau Podcast, Episode 259, 2017 S. Trauth: Klangdom, Funkenstrahlen Podcast, Episode 85, 2016 P. Gräbel: Der Schall, Nussschale Podcast, Episode 16, 2017. T. Pritlove, S. Brill: CRE206 – Das Ohr, CRE Podcast, Metaebene Personal Media, 2014. S. Plahl: Der Klang einer Armbewegung, SWR2 Wissen, 2013.