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RE: Spatial Effects



Here are two suggestions that will open me up for mockery, but here goes

I have a Logidy Epsi that I use as a live convolver in real-time. I have collected IR for various places I have been where I have had one of those "wow" moments because of acoustics, and I use them all the time. They are more or less permanently on. 

The standard response to this is "it's just reverb" but it isn't, and anyway as the late great professor Kovesi remarked, putting "just" into a sentence is a statement of fact concealing an utterance of scorn, but the scorn doesn't modify the statement of fact.

Changing the convolution is great fun. I have experimented in realtime with changing the convolution from outside to inside IRs and the psychacoustic effect is wonderful to experience - going in and coming out of a cavern style. 

There is the possibility of morphing convolution (http://www.sknote.it/software.htm) but I do music to get away from using a computer proper so I haven't tried it. I have read of people having 10 minute recordings of walks that they use for continuous convolution, I am unconvinced but see how it could be done.

The second is even more open to scorn and some people may be insensible to it. Binaurals. 

OK for those still reading, it is a system dating from the 60s at least that tries to get a sense of space into recordings using extra information encoded in there. There are the "artificial head": systems used on records like (IIRC) Tangerine Dream or Popol Vuh - I can't find it. These were abandoned because you needed to use headphones to get it properly.

Ambiophonic systems sought to get the AH effect out of stereo recordings. For rich people this involves large barriers between the speakers, and a special room and a very expensive amplifier with epoxy potted circuit boards to confound prying eyes. I visited a house once that had such a room, and got treated to an hour of Bert Wunderlich in binaural splendour. Nuff said. The room cost 400K$ in 1978. And you had to sit in a special chair made of concrete.

Cheaper approach - The most popular implementation is Eno's "speaker in the rear" described on the cover of "On Land" that connects two positive wires to a smaller speaker and gets a "third pole". If you haven't tried it and are skeptical, try it yourself - http://music.hyperreal.org/artists/brian_eno/onland-txt.html - properly done it's the "Haffler Effect" discovered by David Haffler. A fiend had a B&O with the ambiophonic speaker setup in the 1970s that was really amazing, and didn't need quad records to play on it. In fact it was more quadrophonic that most quad setups (that said, I have a vivid memory of sitting in a purple beanbag in the epicentre of a quad setup listening to Atom Heart Mother and hearing the train orbit then go through me)

So you can try ambiophonic setups - I don't know how well they transfer to the stage as I only perform in my own studio. The are a slew of ambience devices use RACE or similar algorithms to do crosstalk cancellation. There is a cheapie I have used in pairs for some time called the mini-Ambio. http://www.ambio4you.com/ambiophonic-processors/miniambio
I use a pair, two behind two in front.

I do all of my improvised and composed looping over a bed of ambient field recordings, and for me at least the effect is quite disconcertingly like being in the middle of the sound.

There are also computer versions you can try. eg - http://weldroid.blogspot.com.au/2010/02/ambiophonics-processor-vst-ambioone.html Again, I haven't tried it out for reasons given

I set these two things up to get out of the feeling of "studio" when I played and the effect is exactly what I wanted. I can't say how it would transfer to the stage, but the effect is noticeable in the rest of the house. YMMV as they say.










Date: Mon, 8 Jun 2015 15:48:18 -0700
Subject: Spatial Effects
From: billowhead@gmail.com
To: Loopers-Delight@loopers-delight.com

Hi there peoples of the loop,

I was wondering what effects people were happiest with that gave the most dramatic 'spatial' sounds.  What I mean is those effects that seem to take a sound and make it exist in more of the sonic plane.  Reverb is an obvious example as are panning effects and chorus/phase/flangers but I'm looking for the more unconventional (or unconventional use perhaps).  I like the sounds that seem to hit the air and spray like the surf against the rocks if that's not too poetically stretched a metaphor.

Thanks,

Kevin

--
Till now you seriously considered yourself to be the body and to have a
form. That is the primal ignorance which is the root cause of all trouble.

- Ramana Maharshi (1879-1950)