http://www.ambisonia.com Syndication of ambisonia's ambisonic content as bittorrent files. en-uk Plone CMS Etienne Deleflie courville.daniel@uqam.ca (Daniel Courville) Tue, 06 Jan 2009 09:01:29 -0500 http://www.ambisonia.com/Members/Kewl/ambisonicfile.2009-01-05.5481001457 http://www.ambisonia.com/Members/Kewl/ambisonicfile.2009-01-05.5481001457 Project initiated to test out external control (digits in a MaxMSP patch) and random control of 3rd and 5th order planar panners VST plug-ins. To test the panners, I created a synthesiser plug-in (VST and Audio Unit) with SonicBirth to have something more interesting to pan than pink noise. The synth has eight voices based on a single user selected frequency. In this exemple, it's 22 Hz. This frequency is going through three stages of randomly controlled sets of integer multiplications. Some other user controlled parameters are BPM (120 in this exemple), basic note division (eighth note in this exemple) and rate at which the new set of multiplications is applied. The basic tone is a sine wave, but it's also randomly injected with triangle and saw waves to give a bit of a texture. The eight outputs of that synth are sent to eight panners that create straight line trajectories between randomly generated points. The rate at which the panner generate these points is user controllable. There are some other features like an optional distance-dependant EQ. This 3rd order horizontal Ambisonic file is also featuring mixed orders: the direct sounds are encoded up to the 3rd order, but the reverb is 1st order only. All this was connected and recorded in Plogue Bidule 0.9677, the resulting 32/48 file was processed in Nuendo for dithering (Apogee UV22HR) to 16/48. The file was then opened in TwistedWave to remove the 8th empty channel and save to the AMB file format. pwh-ab@cassland.org (Paul Hodges) Thu, 04 Dec 2008 02:55:04 -0500 http://www.ambisonia.com/Members/pwhodges/ambisonicfile.2008-12-03.3963737445 http://www.ambisonia.com/Members/pwhodges/ambisonicfile.2008-12-03.3963737445 Ney Rosauro is a Brazilian percussionist and composer, who teaches at the University of Miami. His music combines elements of the Brazilian and Western traditions, both in the instruments he uses and in melody and rhythm. pwh-ab@cassland.org (Paul Hodges) Thu, 04 Dec 2008 02:55:37 -0500 http://www.ambisonia.com/Members/pwhodges/ambisonicfile.2008-12-03.2081650064 http://www.ambisonia.com/Members/pwhodges/ambisonicfile.2008-12-03.2081650064 Capillas (1612-1673) was the first Mexican Creole composer of significance. He worked in Mexico City and in Puebla under the directorship of Padilla. His style can be very polished and sophisticated, but also lively, with double-choir interchanges of short phrases. Cherwell Singers again. pwh-ab@cassland.org (Paul Hodges) Thu, 04 Dec 2008 02:53:33 -0500 http://www.ambisonia.com/Members/pwhodges/ambisonicfile.2008-12-03.9024393356 http://www.ambisonia.com/Members/pwhodges/ambisonicfile.2008-12-03.9024393356 The Argentinian pianist and composer, Ariel Ramirez, wrote possibly the first mass in the vernacular after (or rather, during) the Second Vatican Council. The work, in Spanish, uses South American rhythms and instruments, but not necessarily in a strictly traditional way. The Cherwell Singers, as usual. This is the first B-format file I have uploaded here that contains an edit within the music! pwh-ab@cassland.org (Paul Hodges) Thu, 04 Dec 2008 02:54:01 -0500 http://www.ambisonia.com/Members/pwhodges/ambisonicfile.2008-12-03.5609535793 http://www.ambisonia.com/Members/pwhodges/ambisonicfile.2008-12-03.5609535793 The Argentinian pianist and composer, Ariel Ramirez, wrote possibly the first mass in the vernacular after (or rather, during) the Second Vatican Council. The work, in Spanish, uses South American rhythms and instruments, but not necessarily in a strictly traditional way. The Cherwell Singers, as usual. acoustician@verizon.net (Jim Mastracco) Thu, 04 Dec 2008 10:27:03 -0500 http://www.ambisonia.com/Members/sabine/ambisonicfile.2008-11-09.6516606036 http://www.ambisonia.com/Members/sabine/ambisonicfile.2008-11-09.6516606036 In commemoration of the 100th anniversary the birth of Olivier Messiaen on December 10, 2008, here is a recording of the sixth movement of his piece for organ, "Les Corps Glorieux: Sept Visions Brèves de la Vie des Ressuscités." Completed in August 1939, just before the beginning of the Second World War, each movement is a 'brief vision' of someone who has experienced the Resurrection. The sixth movement, Joie et Clarté, refers to Matthew 13:43, "Then shall the righteous shine forth as the sun, in the kingdom of their Father." The organist in this performance is Dale Shifler, recorded on July 2005 in St. Joseph's Roman Catholic Church, Washington, DC. The organ is a Hook Hastings instrument dating to 1891. (Organ restoration URL: http://mysite.verizon.net/james.mastracco/pdf/organ_restoration.pdf ) I introduce the performance from a position just to the right side of the organ from the listener's perspective. Posted in memory of all those named Joseph, but in particular - Joseph Croce. acoustician@verizon.net (Jim Mastracco) Sat, 06 Dec 2008 16:49:06 -0500 http://www.ambisonia.com/Members/sabine/ambisonicfile.2008-11-09.5460148648 http://www.ambisonia.com/Members/sabine/ambisonicfile.2008-11-09.5460148648 Edmund Waller's poem Go Lovely Rose, dates from the 1620s but was not published until 1645. Biographia Britannica references Waller as "the most celebrated lyric poet that England ever produced". Waller's verses were first set to music by his contemporary, Henry Lawes. This recording, the third in a trilogy of performances by the Washington Collegium, features a 20th century setting of the text by American composer, Eric Whitacre. Akin to his 17th century counterpart, Whitacre set the text to music when he was in his early 20s. The recording is dedicated to Janice Wolf. Text: Go, lovely Rose? Tell her that wastes her time and me, That now she knows, When I resemble her to thee, How sweet and fair she seems to be. Tell her that's young, And shuns to have her graces spied, That hadst thou sprung In deserts where no men abide, Thou must have uncommended died. Small is the worth Of beauty from the light retired: Bid her come forth, Suffer herself to be desired, And not blush so to be admired. Then die?that she The common fate of all things rare May read in thee; How small a part of time they share That are so wondrous sweet and fair! acoustician@verizon.net (Jim Mastracco) Fri, 21 Nov 2008 07:46:06 -0500 http://www.ambisonia.com/Members/sabine/ambisonicfile.2008-11-09.5304757849 http://www.ambisonia.com/Members/sabine/ambisonicfile.2008-11-09.5304757849 Published in 1934, My Spirit Sang All Day takes its text from the poetry of Robert Bridges. It is widely considered to be the most popular of Finzi's Opus No. 17. This performance, by the Washington Collegium, was recorded in historic St. Mark's on Capitol Hill, on July 27, 2008. (URL for the Collegium http://www.washingtoncollegium.org/) Originally contributed to commemorate the anniversary of Finzi's passing on September 27, 1956, this repanned version more accurately reflects choral balance, particularly with the placement of the tenor to right of the stereo image and in the back row of singers. A quartet of boundary surface microphones was oriented in front of the choir. A fifth "phantom" microphone was derived from the front pair, thus allowing for the creation of a Williams Multichannel Microphone Array (MMAD). The front mics, Crown PCC-130s, are unidirectional cardioids, while the rear channels are modified Radio Shack microphones equipped with internal preamps akin to their Crown distant cousins. Each microphone resided in its own quadrant, separated by a small acoustical baffle not that dissimilar from a Jecklin disc. acoustician@verizon.net (Jim Mastracco) Wed, 03 Dec 2008 11:04:19 -0500 http://www.ambisonia.com/Members/sabine/ambisonicfile.2008-11-08.9803445120 http://www.ambisonia.com/Members/sabine/ambisonicfile.2008-11-08.9803445120 Charles Villiers Stanford's 'The Blue Bird' is listed as the third of an Opus 119 set. Considered by scholars to be a classic example of English secular song, it invokes imagery of a ballad popularized during the Second World War, 'There'll be Bluebirds over the White Cliffs of Dover'. Stanford's setting of Mary Elizabeth Coleridge's poem was written nearly 30 years before that conflict, and 4 years before England's involvement in World War I. Performed in concert by the Washington Collegium in St. Mark's Episcopal Church, the recording is posted in commemeration of the 90th anniversary of the signing of the Armistice to end World War I, at the 11th hour of the 11th day, of the 11th month. Text: The lake lay blue below the hill, O?er it as I looked, there flew Across the waters, cold and still, A bird whose wings were palest blue. The sky above was blue at last, The sky beneath me blue in blue, A moment, ?ere the bird had passed, It caught its image as it flew. heller@ai.sri.com (Aaron J. Heller) Sun, 09 Nov 2008 11:50:23 -0500 http://www.ambisonia.com/Members/ajh/copy_of_ambisonicfile.2008-10-30.6980317146 http://www.ambisonia.com/Members/ajh/copy_of_ambisonicfile.2008-10-30.6980317146 Allegro - Vivace heller@ai.sri.com (Aaron J. Heller) Sun, 02 Nov 2008 03:11:50 -0500 http://www.ambisonia.com/Members/ajh/ambisonicfile.2008-10-30.6980317146 http://www.ambisonia.com/Members/ajh/ambisonicfile.2008-10-30.6980317146 Allegro ma non troppo heller@ai.sri.com (Aaron J. Heller) Mon, 17 Nov 2008 04:40:41 -0500 http://www.ambisonia.com/Members/ajh/copy3_of_ambisonicfile.2008-10-30.6980317146 http://www.ambisonia.com/Members/ajh/copy3_of_ambisonicfile.2008-10-30.6980317146 Adagio heller@ai.sri.com (Aaron J. Heller) Fri, 28 Nov 2008 04:46:02 -0500 http://www.ambisonia.com/Members/ajh/copy2_of_ambisonicfile.2008-10-30.6980317146 http://www.ambisonia.com/Members/ajh/copy2_of_ambisonicfile.2008-10-30.6980317146 Adagio - Allegro vivace hpyle@cabezal.com (Hugh Pyle) Tue, 21 Oct 2008 02:00:33 -0400 http://www.ambisonia.com/Members/hughpyle/ambisonicfile.2008-10-20.9949056803 http://www.ambisonia.com/Members/hughpyle/ambisonicfile.2008-10-20.9949056803 Qwill (Jesse Ciarmataro) held a release party for his "Arrows" CD (http://cdbaby.com/cd/qwill), at the Front Street Coffeehouse in Salem MA, October 17th 2008. This is his song "When We Come", with participation from the many friends and family in attendance. vila_nestor@hotmail.com (Henry J. Walmsley) Sun, 14 Sep 2008 01:48:46 -0400 http://www.ambisonia.com/Members/Henry/ambisonicfile.2008-09-13.7863859206 http://www.ambisonia.com/Members/Henry/ambisonicfile.2008-09-13.7863859206 This is an audio frequency magnetic recording made on a stop-start train journey from Farnborough To Woking UK. It was done on a fairly modern Network Southeast third rail pickup train. You can hear various elements of the magnetic environment including, turning off my mobile, walking through the train at the start, basic mains hum, variable frequency motor drive under park and acceleration, the constant scratching of the third rail pickup shoe, electrical braking, the eerie wail of passing signal gantrys and trackside equipment etc. The magnetic pickup is shown in the picture and is four radio ferrite rods arranged tetrahedrally with mains transformer primaries mounted on the centre of them inside the sphere. Each coil simply connects to WXY and Z on the recorder. The aluminium foil provides an electrostatic screen. (Any discussions regarding the technical accuracy of this arrangement may be addressed to British Airways Customer Care, 3 Ingrams Drive, Essex.) Now, where did I put my anorak? veasec@rpi.edu (Charles Veasey) Sat, 30 Aug 2008 03:05:49 -0400 http://www.ambisonia.com/Members/cveasey/ambisonicfile.2008-08-29.1193700776 http://www.ambisonia.com/Members/cveasey/ambisonicfile.2008-08-29.1193700776 This recording provides an example of low-level field recording with the TetraMic and Motu Traveler. From a deserted road I walked a mile into the sun scorched plains. Grasshoppers were jumping by the dozens as I crossed the field and came to a sandy cliff. I setup the TetraMic and the Motu Traveler with the gains set at +25 dB. The Traveler was fed into my 15" Powerbook and recorded using Sound Forge 9.0. I managed to record about 20 minutes until the Powerbook's fans kicked into high gear trying to keep cool under the South Dakota sun. The wind was moderate and blew through the low lying evergreen and deciduous trees. veasec@rpi.edu (Charles Veasey) Sat, 30 Aug 2008 01:38:25 -0400 http://www.ambisonia.com/Members/cveasey/ambisonicfile.2008-08-29.3106570230 http://www.ambisonia.com/Members/cveasey/ambisonicfile.2008-08-29.3106570230 This recording offers an example of low-level field recording with the TetraMic and Edirol R-44 recorder. The amphibians were fairly loud. I tracked their location about a half mile into the woods so that I was crouching very near. The mosquitoes and black flies were terribly abundant. I was hand holding the microphone under a tree canopy. It started to rain lightly and a few drops can be heard hitting the leaves. It wasn't very windy, so most of the noise is circuity. The Edirol R-44 sensitivity was set at -38 and the level knob was positioned at maximum to ensure gain matching across channels. This file was high pass filtered at 250HZ. vila_nestor@hotmail.com (Henry J. Walmsley) Fri, 22 Aug 2008 23:11:49 -0400 http://www.ambisonia.com/Members/Henry/ambisonicfile.2008-08-22.2825278627 http://www.ambisonia.com/Members/Henry/ambisonicfile.2008-08-22.2825278627 Played with hopefully tasteful computer control on a hardware organ emulator, multiple spring reverb and a bit of overdriven tape delay. The mighty "Hammondicon" : http://homepage.ntlworld.com/henry01/hammondicon/ham01_text.htm chapman@mchapman.com (Michael Chapman) Sun, 06 Jul 2008 00:43:09 -0400 http://www.ambisonia.com/Members/michael/ambisonicfile.2008-07-05.2994956247 http://www.ambisonia.com/Members/michael/ambisonicfile.2008-07-05.2994956247 A voice speaks "Up Left Front" through to "Down Right Back". A test piece for periphonic rigs, functional but apologies for the recording quality (noise and some volume variation). The simple software that created the file is published, so you should easily be able to change the quality, the voice, the language ... (For the software see http://mchapman.com/amb/soft/positions/.) To answer the criticism of 'autosuggestion' a version with "A is for Ambisonics" through to "Z is for ..." is in production. (For the adventurous and/or supernatural user, there is a four dimensional version at http://mchapman.com/amb/hyper/.) Grateful acknowledgements to Aaron Heller's original "Eight-Directions" (2007-05-29.7251031563). vila_nestor@hotmail.com (Henry J. Walmsley) Mon, 30 Jun 2008 04:43:12 -0400 http://www.ambisonia.com/Members/Henry/ambisonicfile.2008-06-29.0770975119 http://www.ambisonia.com/Members/Henry/ambisonicfile.2008-06-29.0770975119 "Accelerate," in unabashed techno-pop mode. An album track that will eventually form part of the sound description of the journey from an extremely tedious Friday afternoon meeting at work at an unnamed telecoms company in Farnborough to the first pint in a shite gay bar in Southampton in Getrude the scabby but ultimately highly reliable Peugeot 205. This section describes the occasionally terrifying entry onto the M3 motorway at junction 4A with some quotes from Great British 1970s public information films on that very subject. Rah. pwh-ab@cassland.org (Paul Hodges) Fri, 27 Jun 2008 06:29:45 -0400 http://www.ambisonia.com/Members/pwhodges/ambisonicfile.2008-06-26.0230670841 http://www.ambisonia.com/Members/pwhodges/ambisonicfile.2008-06-26.0230670841 Brahms's Zigeunerlieder for chorus and piano were a late composition. Unlike in the Hungarian Dances, the Hungarian musical elements are hinted at rather than explicit. This recording with the Cherwell Singers was made in the recently built Jacqueline du Pré Music Building in Oxford. The sound is extremely dry and analytical. There was a gale blowing, and although we couldn't hear it, there were obviously big drafts in the hall, which produce obvious rumble, because I don't normally use a windshield indoors... Or maybe it's someone kicking the floor. pwh-ab@cassland.org (Paul Hodges) Fri, 27 Jun 2008 06:29:27 -0400 http://www.ambisonia.com/Members/pwhodges/ambisonicfile.2008-06-26.8884245833 http://www.ambisonia.com/Members/pwhodges/ambisonicfile.2008-06-26.8884245833 Stanford is best known for his church music (Stanford in Bb; Beati quorum via), but was in fact the most notable British composer (along with Sullivan) immediately preceding Elgar. He wrote several sets of songs on nautical themes. These songs were intended for performance with orchestra. This recording with the Cherwell Singers was made in the recently built Jacqueline du Pré Music Building in Oxford. The sound is extremely dry and analytical. There was a gale blowing, and although we couldn't hear it, there were obviously big drafts in the hall, which produce obvious rumble, because I don't normally use a windshield indoors... Or maybe it's someone kicking the floor. pwh-ab@cassland.org (Paul Hodges) Fri, 27 Jun 2008 06:28:51 -0400 http://www.ambisonia.com/Members/pwhodges/ambisonicfile.2008-06-26.4491025308 http://www.ambisonia.com/Members/pwhodges/ambisonicfile.2008-06-26.4491025308 The Five Mystical Songs contain some of the best-known Vaughan Williams (The Call; Let all the World in Every Corner Sing). They were published with both piano (as here) and orchestral accompaniment. This recording with the Cherwell Singers was made in the recently built Jacqueline du Pré Music Building in Oxford. The sound is extremely dry and analytical. There was a gale blowing, and although we couldn't hear it, there were obviously big drafts in the hall, which produce obvious rumble, because I don't normally use a windshield indoors... Or maybe it's someone kicking the floor. hpyle@cabezal.com (Hugh Pyle) Wed, 25 Jun 2008 13:07:42 -0400 http://www.ambisonia.com/Members/hughpyle/ambisonicfile.2008-06-24.9593085147 http://www.ambisonia.com/Members/hughpyle/ambisonicfile.2008-06-24.9593085147 Solo guitar. This is a "studio-like" recording: fairly closely mic'd, quite a dead room (although the little room reverberation is nice). http://myspace.com/chriskeatingmusic/ john@johnleonard.co.uk (John Leonard) Tue, 22 Apr 2008 03:33:39 -0400 http://www.ambisonia.com/Members/soundmanjohn/ambisonicfile.2008-04-21.4810344673 http://www.ambisonia.com/Members/soundmanjohn/ambisonicfile.2008-04-21.4810344673 Please note that this recording is included purely for the sake of interest; i.e. this is what happens when you position a microphone about fifty feet away from the front of a WWI field gun firing blank charges. It's not meant to be a great recording, but it does show how well the microphone can cope with that sort of abuse. This is a recording of the six guns firing in order. You can hear how the initial pressure wave diminishes as the distance and angle increases. High level playback will probably harm your speakers - don't blame me! john@johnleonard.co.uk (John Leonard) Tue, 22 Apr 2008 03:34:08 -0400 http://www.ambisonia.com/Members/soundmanjohn/ambisonicfile.2008-04-21.0027569758 http://www.ambisonia.com/Members/soundmanjohn/ambisonicfile.2008-04-21.0027569758 The King's Troop Royal Horse Artillery fire off gun salutes on various occasions in London's Royal Parks. Today was Queen Elizabeth II's official birthday and I popped down to Hyde Park with the TetraMic to grab a few gun-shots. Unfortunately, there were rather more security people than usual around and I was moved from place to place until I was right in front of the guns at a distant of about sixty feet. This is not good as the pressure wave effectively records as a DC pulse and comes out as a click. There are six cannons and the last two produce sounds that are just about usable. In this recording, I've taken six of the furthest gunshots and joined them together, with a quick-ish fade at the end. But be warned, there's a LOT of LF in this recording. john@johnleonard.co.uk (John Leonard) Mon, 14 Apr 2008 19:30:47 -0400 http://www.ambisonia.com/Members/soundmanjohn/ambisonicfile.2008-04-14.9034658665 http://www.ambisonia.com/Members/soundmanjohn/ambisonicfile.2008-04-14.9034658665 First recording using a Core-Sound TetraMic and a new, as yet unreleased, audio interface. The Orfeo Trio is Lucy Jeal, violin, Simon Brown, viola and Alexander Somov, 'cello. This was a pre-concert run-through for a small invited audience in a North London church which is shared with a nursery school, hence the occasional small child. The piece is the second movement of Beethoven's Trio in C Minor, Opus 9 No.3. I think it shows off both microphone and interface in a rather good light, as well as the trio. hpyle@cabezal.com (Hugh Pyle) Fri, 28 Mar 2008 10:24:58 -0500 http://www.ambisonia.com/Members/hughpyle/ambisonicfile.2008-03-27.2041929603 http://www.ambisonia.com/Members/hughpyle/ambisonicfile.2008-03-27.2041929603 Erinn Brown (gtr & vox), joined by Billy Craig on harmonica, live at the Landing, Manchester-by-the-sea, Mass. Saturday night, there's a big crowd squeezing into the front bar - food, drink, friendly chatter (*lots* of chatter). And some great music... http://www.erinnbrown.com/ john@johnleonard.co.uk (John Leonard) Thu, 20 Mar 2008 05:50:40 -0500 http://www.ambisonia.com/Members/soundmanjohn/ambisonicfile.2008-03-19.8980586326 http://www.ambisonia.com/Members/soundmanjohn/ambisonicfile.2008-03-19.8980586326 I was set up to record a Mark IX Spitfire at the Imperial War Museum, Duxford, near Cambridge when an announcement came over the PA system that a couple of Chinook helicopters would be carrying out a "Tactical Landing"... Well, why am I telling you this? You can hear for yourselves: the PA announcement comes mainly from the left and slightly to the rear with a lot of excellent bounce-back from assorted hangars. Some kids run up to watch the fun and the two Chinooks duly arrive from the left and depart to the right, with more bounce from the rear. Rather nice, I think. Wed, 19 Mar 2008 14:53:22 -0500 http://www.ambisonia.com/Members/Henry/ambisonicfile.2008-03-18.7112603441 http://www.ambisonia.com/Members/Henry/ambisonicfile.2008-03-18.7112603441 An original electronic composition from Nikmis in Canada with Ambisonic mix by Henry Walmsley. http://www.myspace.com/nikmisnikmis http://www.myspace.com/ambitunes