這個音樂作品是 MAGNETICA studio 與 Sennheiser AMBEO VR Mic 的協同創作~
心得一：Ambisonics是一種具備高保真能力的超現實藝術創作方法。
心得二：AMBEO麥克風是眾多Ambisonics麥克風當中的高品質之選。
“SYMPHONY IN THE NATURE” – “在大自然裡的交響” By MAGNETICA Studio
標籤: 3D
360 Soundcheck with Chick Corea
以Ambisonics技術收錄聲音的360影片的好玩之處之一就是當觀眾想仔細聽哪個樂器聲的時候，就把360影片轉到面向樂手的方位。
Ambisonics Spatial Audio公開課 by John Escobar
這個Ambisonics Spatial Audio公開課總共有7集。
如果想直接瞭解3D混音製作的話可直接跳到第六集，第六集重點以Facebook研發設計的免費插件”FB360 Spatial Workstation”來講述360度3D混音處理和Facebook 360影片檔案後製作的方法。
第七集Ambisonics混音demo則可謂是目前網路上最棒、最講究的示範。
現場收音總共使用了8支麥克風，分別是2支Sennheiser AMBEO VR Mic（一支架在指揮位置收近距離四重奏的空間聲場，另一支架在觀眾席收整個音樂廳的空間聲場）、4支短槍做點收音收每個樂手的直接音、2支配對的短槍麥做房間左右邊的Overhead收音。
第七集是360影片，演示了各個位置上的麥克風的實際收音聲響情況，及其混音之後的樣貌，對於希望從事Ambisonics 3D錄音混音製作的人來說有非常高的參考價值。
0:05 指揮區Ambeo, 樂器點收音麥
0:55 觀眾區Ambeo, 樂器點收音麥
1:42 樂器點收音麥
2:22 指揮區Ambeo, 聽眾區Ambeo, 樂器點收音麥
3:19 指揮區Ambeo, 房間左右邊Overhead
4:03 所有全部麥克風
完整七集播放清單：
About John Escobar:
John Escobar is a producer, engineer, multi-instrumentalist, and educator, teaching several courses in the Music Production and Engineering department for Berklee College of Music. He has worked with a wide range of artists, including Grammy-winning folk artist Sarah Jarosz, jazz guitar virtuoso Larry Coryell, violinist Joshua Bell, and many others. He has also taught at Harvard, Boston University, University of Southern California, and Northeastern University.
About Berklee Online:
Berklee Online is the continuing education division of Berklee College of Music, delivering online access to Berklee’s acclaimed curriculum from anywhere in the world, offering online courses, certificate programs, and degree programs. Contact an Academic Advisor today: 1-866-BERKLEE (US) 1-617-747-2146 (international callers) advisors@online.berklee.edu http://www.facebook.com/BerkleeOnlinehttp://www.twitter.com/BerkleeOnlinehttp://www.instagram.com/berkleeonline/
創新的沉浸式互動聲音藝術
極度前沿的藝術表演形式，期盼更多同好都開始朝著這個方向去做文藝創新，此形式的關鍵是3D世界裡的每個物件的影像和聲音的同步。藉助Unity+Wwise來實現沈浸式音視藝術創作，值得大家多多加以了解。
Drichtel: How I used spatialized audio for immersive art performances
Immersive art could be viewed as inherently redundant in that the principle of art itself requires immersion within an artwork to appreciate it. Yet, while taking that into consideration, this is a term that can be applied to a lot of things. For the sake of this blog, I’m going to stick to digital and performance art. In this day and age, VR/AR/XR are considered a form of immersive art. One could argue that music shows are a sort of immersive art whenever shows use other elements to complement the experience (pyrotechnics, visuals behind a band, stages made out of LEDs, and so on). Modern video games, in my opinion, are a form of immersive art, as they use a lot of stimuli to appeal to the senses of the player, whether by a story or world building. Since this is such a broad term, the question “how do you create immersive art?” can only bring broad answers. Depending on how you see it, the term “immersion” might seem too vague, but being vague gives you a lot of wiggle room on how you approach the creation of the artwork, without going into esoteric concepts.
Axel Hélie Fontaine | August 28, 2018
Waves nx
Waves nx如同其他學術界釋出的各種豐富多樣的Ambisonics Plugins或軟體，是基於Ambisonics技術開發出來的，據悉Ambisonics是始於1970年代，但一直被音樂產業捨棄，這個近乎完全被音樂產業遺忘了的Ambisonics，因其理論完整，加上近幾年360影片、VR/AR/MR的蓬勃發展，使得大家回過頭來尋求它在場域收音、格式解析/量化、處理、重建等各方面的幫助，以求能在耳機或各種喇叭佈局上實現自然的聲響，其中關鍵之一就是演算出聲源在一個廣域的3D空間裡所應讓人耳聽到的直接音和一次、二次、三次反射音，相應於聆聽者雙耳和聲源之間的距離與方位變化，即時的將前端的計算結果呈現在後端聆聽系統上。