#SounDoer# Ambisonics 专题系列文章 – Creative Field Recording

@SounDoer:来自 Creative Field Recording 网站,一组关于 Ambisonics 的专题文章,Ambisonics 技术特点的介绍、六位实地录音师的实用经验分享,以及相关软硬件资源的总结。#绝大多数资源信息在 SonDoer 之前的 VR Audio 相关文章中均有提及,可以直接搜索查阅。#
An Introduction to Ambisonics
Explorers of Ambisonics – John Leonard
  1. I read an article about the Soundfield microphone in the (now defunct) Studio Sound magazine which got me rather more excited and I got to meet Michael Gerzon, (the main driving force behind Ambisonics and the Soundfield Microphone with Peter Fellgett and Peter Craven) and eventually wangled an invite to the Calrec premises to hear a demonstration of a recording made using a Soundfield at The Royal Albert Hall in London. That was in 1978, I think, and I was an immediate convert, not just in terms of the ‘being there’ experience, but also with the way that you could alter the perspective and angle of the recording after the event.
  2. A free channel converter from Noisemakers called Ambi-Converter.
    Ambi Converter is a simple free plugin (VST, AU, AAX) to convert B-format signals from FuMa to ambiX and vice-versa.
  3. Soundfield ST450, CoreSound TetraMic, SD 788/744
    Harpex, SurroundZone2, Dave McGriffy VVAudio.com plug-ins
    Nuendo, Soundminer
  4. It depends on what the end use is: most of the time, I regret to say, I’ll decode to stereo for playback in theatres or for inclusion in my effects libraries. However, recent developments in the specialist theatre playback software that I use, which is Figure 53’s QLab, along with Rogue Amoeba’s Loopback and Plogue Bidule means that I can use B-Format recordings directly in the theatre, which I’m finding very exciting. #Ambisonics 声音素材在舞台戏剧声音设计方面的应用。
  5. I think that the biggest misconception is that Ambisonic field recording is a one-size-fits-all solution, which really isn’t the case at all. Like any field recording situation, you need the correct tool for the job, as well as realising that the basic rules of field recording still apply. I make the decision about what to use depending entirely on what I’m recording and where I’m going to be doing it.
Explorers of Ambisonics – Richard Devine
  1. I had started capturing sounds since the early 90’s, as I bought my first digital sampler in 1992. Which was an Akai S3000 that had the capability of recording sounds at 44.1 kHz 16-bit stereo but was limited to storing only 8 to 32 MB of memory.
  2. Sound Devices MixPre, SD 744T/788T/442, Sony PCM-D100, Zoom H6, Zoom F8
    Neumann RSM-191 A/S, KM 184s, DPA 4060s, Sanken C0-100k, CSS-5, Sennheiser 8040ST
    Aquarian Audio H2a-XLR Hydrophones
    SoundField ST450 MKII, Sennheiser Ambeo VR Mic
  3. 作为声音设计师参与了 Google DayDream 项目的 Ambisonic Environmental 和 UI 声音制作。
  4. Twisted Wave, an audio editor available for Mac, iPhone / iPad and online.
    AmbiExplorer, allows you to listen and explore ambisonic B-Format and UHJ audio files. It does it by decoding to stereo binaural or virtual microphones.
  5. I also worked on the HTC Vive system for about 4 months, as we created content for Google’s Earth VR. I contributed many Ambisonic environmental sand UI sounds for this. The application here was to explore the world from a totally new perspective, soaring over the Grand Canyon or teleporting across the globe for example. It opened a world of possibilities for creating and capturing new sounds and ambiences.
  6. Try recording inside a studio or acoustically treated room with these microphones first, so you can grasp the way these microphones capture sound. This was very helpful for me in choosing what sources to record with what mic, and how far or close I would place them to sources.
Explorers of Ambisonics – Anna Bertmark
  1. One one film I actually used the Zoom H6 M/S with a couple of DPA 4060’s pinned to my shoulders, which I know sounds crazy to some, but turned out to sound really good in the cinema. The re-recording mixer was a bit surprised when I told them which setup I’d used, which goes to show it’s the ear rather than the gear that’s important.
  2. Soundfield ST450, Rycote Blimp/Windjammer, Zoom F8, Sennheiser MKH 416
  3. I think Ambisonics will be standard in all 360 cameras, documentary and VR broadcasting, if VR headsets will become commonplace in the future so there’ll be a demand.
  4. For other VR film/games/experiences; just taking surround recordings of sparse ambiences with added layers, converted into B-format and combined with spatially placed sound objects and sounds linked to actions and other interactive objects, then rendered into stereo, as VR games do now, is a more practical way of working I think.
Explorers of Ambisonics – Paul Col
  1. Soundfield ST450 mk-ii microphone, Cinela Pianissimo windshield, Gitzo travel tripod, ST450 Preamp, Zoom F8
Explorers of Ambisonics – Tom Todia
  1. I have been working around sound for video games for the last 10 years under the name “Engine Audio.” My partner Chris Latham and I began teaching ourselves the technology behind game sound with free game mods, which led us to network with independent developers.
  2. My first Ambisonic recordings were of room tone. My partner Chris and I were working on a VR title where you are piloting a submersible device through a deep underwater cavern. My thought was that if I recorded aggressive room tone in an Ambisonic field, it would feel far more immersive than a stereo or even surround image through the game engine. I was however wrong. After recording as many server rooms and metallic noisy environments as I could find, I discovered that the resulting audio image sounded almost mono. I became aware through experimenting that Ambisonic audio does not always offer great “space.” In order to capture a real sense of 360 presence you need the correct audio sources, reflections, and distance.
Explorers of Ambisonics – Stéphane Larivière
  1. A natural path from music performance and studies to electroacoustic music composition with strong interests in music recording and producing, as well as multimedia and interactive media. Sound design appeared to be a perfect fit to me from my first days in post-production, which I’ve been doing since 1994. Creating the right sounds, contributing to the vision of directors, to give life to moving pictures, be it animation, live action, or interactive and video games, has always given me a lot of joy and satisfaction.
  2. It is my experience too that within small indoor spaces, moving objects in a 3D manner around the mic can be tricky to replicate or integrate, depending on the frequency content of the source and the reflection properties of the surfaces. But with good integration tools, the proper amount of added early reflections (and reverb) should get things in place.
  3. The first thing is to be aware of the non-forgiveness of this recording technique. You need to have a tight and fixed position on all axis, using appropriate stand, suspension and blimps size, and a very good recorder to benefit from the technology.
  4. Especially for my work at Ubisoft for Assassin’s Creed Brotherhood, Assassin’s Creed 3, and Far Cry 3. But now there is the ST450 MkII, and it fills the bill. My first choice for quality and portability.
  5. All VR/360 projects involving a shooting stage with Ambisonic microphones + hidden or LAVs mics have been particularly challenging. With so many different camera rigs and concepts, it’s been most of the time an issue to get the Ambisonic microphone at the right spot.
  6. One of the basic main improvements up to 2013 or so, was the development of Harpex and SurroundZone2 plug-ins, and the ST450 MkII microphone kit. The SPS200 small body was a nice idea – hope I could put my hands on one – the Zoom F8 is handy, and Cinela blimps are great. Parallel to that, all the trail blazing done by people like Bruce Wiggins and Daniel Courville, just to name these two. Actually there has been ongoing research in that domain since the beginning, it was just in the shadow of everything else that was going on.
    Then the glorious breakthrough of the technology as it is becoming the reference for Oculus, Google, Facebook and the like, the smartest way to go in order to get 3D spheric sound in VR. This has unleashed major interesting solutions in the post-production side, in order to use it with ever-improving results. We must be very thankful to the guys at Two Big Ears for their contribution, the proactivity of Reaper and Audiokinetic, again just to name a few. Simply put, now that we can create a final mix as an Ambisonic file is very very interesting. We just need the possibility to integrate that wisely in all pipelines. Worth mentioning also the efforts from companies like Dysonics for working on an integrated solutions platform.
  7. It would makes sense to me that it becomes the core tech for most of 3D sound design/ integration/final delivery for anything AR/VR/360 video. As for sound recording, I hope we can expect more options: high quality compact solutions for microphones, preamps, recorders, and sample-accurate four-channel wireless systems, A-format monitoring, etc., and a good selection of four-channel linear phase plug-ins for basic EQ, noise reduction, and dynamic. Last but not least, the importance of the best possible binaural render tools.
#一篇非常详细的 Ambisonics 资源整合贴,包括各种话筒的介绍、价格和链接,插件工具和软件平台,音效素材库,VR 设备和其他相关链接。#
Ambisonic Field Recording Resources
SounDoer – Focus On Sound Design
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