Ambisonics is the process of simulating moving sound sources in a stereo field or mapping these different channels to real-life speakers for psychoacoustic effects. I used the ICST Ambisonics Max external for ambisonic panning to create a particle system that controls 40 unique FM voices in the stereo field. As visualized above, each sound source is updated roughly every .1 seconds, and the position of the sound source is changed in the stereo field.
The FM voices are stochastically generated based on parameters that are instantiated differently for each voice. That means the tone moves independently in the stereo field, and the voices are not modulated as a whole. Then, the notes and timbres they represent in the ambiphonic system are panned and spatialized.
In this example, I routed the output from the ambisonic FM system to my ambisonic grain delay, and the result is a highly dynamic and spatialized mix.
The generative FM synth and the granular spatial delay include Head-Related Transfer Functions. These are frequency domain convolutions of impulse responses that emulate the slight delay of sound reaching each ear, our ear shape, and other psychoacoustic effects. HRTFs are utilized in spatial engines to create a real-sounding soundstage in headphones.
In the spatial grain delay, Swarm, I’ve lowered the number of speakers to 25 to reduce computation load, and added a mix knob for blending ambisonic and binaural spatialization techniques, which works well as a quick way to allow club producers to optimize for stereo systems and for more ambient or home listening artists to optimize to headphones. video explainervideo…Ambisonics is the process of simulating moving sound sources in a stereo field or mapping these different channels to real-life speakers for psychoacoustic effects. I used the ICST Ambisonics Max external for ambisonic panning to create a particle system that controls 40 unique FM voices in the stereo field. As visualized above, each sound source is updated roughly every .1 seconds, and the position of the sound source is changed in the stereo field.
The FM voices are stochastically generated based on parameters that are instantiated differently for each voice. That means the tone moves independently in the stereo field, and the voices are not modulated as a whole. Then, the notes and timbres they represent in the ambiphonic system are panned and spatialized.
In this example, I routed the output from the ambisonic FM system to my ambisonic grain delay, and the result is a highly dynamic and spatialized mix.
The generative FM synth and the granular spatial delay include Head-Related Transfer Functions. These are frequency domain convolutions of impulse responses that emulate the slight delay of sound reaching each ear, our ear shape, and other psychoacoustic effects. HRTFs are utilized in spatial engines to create a real-sounding soundstage in headphones.
In the spatial grain delay, Swarm, I’ve lowered the number of speakers to 25 to reduce computation load, and added a mix knob for blending ambisonic and binaural spatialization techniques, which works well as a quick way to allow club producers to optimize for stereo systems and for more ambient or home listening artists to optimize to headphones. video explainervideoWW…