Ambisonics | Wikipedia audio article
Channel: wikipedia tts
Date: 06/06/2019

This is an audio version of the Wikipedia Article:
https://en.wikipedia.org/wiki/Ambisonics


00:01:26 1 Introduction
00:02:41 1.1 Panning a source
00:05:18 1.2 Virtual microphones
00:07:12 1.3 Decoding
00:09:37 1.4 Higher-order Ambisonics
00:11:01 1.5 Comparison to other surround formats
00:14:13 2 Theoretical foundation
00:14:23 2.1 Soundfield analysis (encoding)
00:17:12 2.2 Psychoacoustics
00:17:36 2.2.1 Low-frequency localisation
00:18:31 2.2.2 High-frequency localisation
00:19:16 2.2.3 ITD and ILD reproduction in Ambisonics
00:21:07 2.3 Soundfield synthesis (decoding)
00:22:00 3 Compatibility with existing distribution channels
00:22:30 3.1 Stereo
00:24:02 3.2 Multichannel formats
00:25:34 4 Production workflow
00:26:01 4.1 Ambisonic microphones
00:26:11 4.1.1 Native B-format arrays
00:28:19 4.1.2 The tetrahedral microphone
00:29:11 4.1.3 Higher-order microphones
00:30:19 4.2 Ambisonic panning
00:31:35 4.3 Ambisonic manipulation
00:32:31 4.4 Data exchange
00:33:39 5 Current development
00:33:48 5.1 Research
00:35:45 5.2 Open Source
00:36:02 5.3 Corporate interest
00:37:58 5.4 Use in gaming
00:38:54 6 Patents and trademarks
00:40:32 7 See also



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SUMMARY
=======
Ambisonics is a full-sphere surround sound format: in addition to the horizontal plane, it covers sound sources above and below the listener.Unlike other multichannel surround formats, its transmission channels do not carry speaker signals. Instead, they contain a speaker-independent representation of a sound field called B-format, which is then decoded to the listener's speaker setup. This extra step allows the producer to think in terms of source directions rather than loudspeaker positions, and offers the listener a considerable degree of flexibility as to the layout and number of speakers used for playback.
Ambisonics was developed in the UK in the 1970s under the auspices of the British National Research Development Corporation.
Despite its solid technical foundation and many advantages, Ambisonics had not until recently been a commercial success, and survived only in niche applications and among recording enthusiasts.
With the easy availability of powerful digital signal processing (as opposed to the expensive and error-prone analog circuitry that had to be used during its early years) and the successful market introduction of home theatre surround sound systems since the 1990s, interest in Ambisonics among recording engineers, sound designers, composers, media companies, broadcasters and researchers has returned and continues to increase.