Ambisonic immersive hd outdoor audio system

Mark Hallinger rounds up the best audio action from the show. A big display in the Future Zone showed off the stunning 4K and 8K ultra-high definition images the system provides. And the sound is keeping up with the vision: it fully envelops the consumer with 3D 5. The immersive audio that the Tokyo Olympics will provide were part of many conversations on the show floor, along with Next Generation Audio NGA and all that this entails. Beyond the massive, elephant-in-the-room general industry trend to AoIP, the move to immersive and its higher channel counts along with NGA is driving product roadmaps and facility planning.

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Content:

• In Depth: Immersive Audio
• Immersive drives audio capture at IBC
• Outdoor Speaker Kit
• Qualcomm Patent | User interface for controlling audio rendering for extended reality experiences
• Immerse Yourself in Outdoor Entertainment with AmbiSonic Systems
• Working with Audio
• Acoustic audio outdoor speakers
• Origin Acoustics – AmbiSonic – When the Best Sound Matters

WATCH RELATED VIDEO: Ambisonic Outdoor Amplifiers

In Depth: Immersive Audio

The ability to narrate a convincing tale is one part of storytelling, the other is the ability to build a world that an audience can then immerse themselves in. American architect and designer, David Rockwell, is one of the most proficient at doing so.

Having created the Rockwell Group in , the practice and Rockwell himself have created immersive work across design disciples. From creating Tony Award-winning Broadway sets to collaborative product design ventures, the scope of Rockwell's work and practice extend beyond the realms of architecture and interior design. In an exclusive conversation with STIR, David Rockwell elaborates on his work, his process, and how his youth informed his desire to create memorable experiences.

Devanshi Shah DS : You have spoken previously about growing up with theatre. Could you elaborate on how this continues to inform your design and architectural practice?

David Rockwell DR : Since I was young, I wanted to be a part of and create memorable experiences, and theatre was really a key that I discovered for doing that. I have always thought about the human stories behind everything that needs design, even when it was an unpopular thing to do. Everything we do is about story. Architects and designers are imagining new futures, telling stories of how to get there, and inspiring people to go.

DS: The geographic change in your childhood is also another point of reference you call back to in your work, particularly in relation to your understanding of public space. How does this childhood memory continue to manifest in your work? The highly energetic and dense urban environments saturated with colour, objects and action exposed me to a thrill and vibrancy that stays with me to this day, and taught me the importance of using public space creatively.

DS: You have been nominated and have won numerous awards not only in relation to architecture but also Tony and Emmy Awards. Could you talk to us a bit more about designing your continued engagement across set design vs interior and architecture design? DR: I have been thinking about the ways in which theatre and design overlap for many years. Doing that fundamentally creates relationships, and the presence of a relationship in an experience creates greater meaning and lasting impact.

These ideas about designing from an audience-centric, empathy-driven point of view are relevant in the theatre, and in architecture and hospitality. Focusing on how people gather, what their emotional experiences are, and what their memories become, and how design can massively impact on all of that is extremely relevant to strategy, human engagement community health, and sustainability. DS: The Oscars this year were completely unique.

There were two parts to the Oscar set, both of which had their own identity and attention to details. Could you tell us a bit more about your inspiration? Viewers who were accustomed to the annual event taking place in a stadium theatre were delighted to see Hollywood glamour illuminate an iconic public transit hub.

Replacing the typical row seating with cafe-style tables and banquets with custom table lamps created an atmosphere of unstated and intimate elegance—a welcome change for both live and televised audiences after more than a year of isolation. We were inspired by some of the very first Academy Award ceremonies and their understated elegance-these were informal dinners in iconic ballrooms in Los Angeles.

The second part of the set, as you mention, was the north courtyard, which served as the backdrop for pre- and post-show celebrations, where guests could roam between platforms that included a DJ booth, piano, bars, and lounge areas furnished in Roche Bobois Mah Jong seating.

DS: Another theatre project this year were the sets for the seven deadly sins in an outdoor theatre series. Could you tell us about how each of the sins were conceptualised? Could you also elaborate on how you negotiated the immersive nature of theatre with the exteriority of street life? Socially distanced audiences of roughly 24 sat outside of the storefronts and were guided to the different locations.

They began their journey in Purgatory—a loading dock across from the Whitney Museum with neon strips and a red Mylar curtain that doubled as the ticket window, introduction to the performance, and pop-up bar. Each play had a distinct colour and a seven-foot-tall sign that sat in the transom or outside of the storefront spelling out the name of the sin presented.

Depending on the play, we took a very abstracted approach or a realistic approach to the set. A baroque set features a front ground row painted in bold, abstract flowers and foliage. A set of wings and a painted backdrop feature the same design. I think that the breaks between each play - the transitions - allowed for opportunities for the audience to become even more invested in the production, and built anticipation and suspense.

Activating empty spaces created an intimacy with the audience and connected them to that time and place in New York , whether they were visitors or locals. They let us take control of our environment, encouraging a type of spatial rule breaking. They also promote the free, informal moments when spontaneous creativity is born. Play is encouraged and surprise is always around the corner. DS: A keen eye for detail, it is something that is visible in all your work; this has also led to some interesting collaborations such as Elba for Paola Lenti and many more.

Could you tell us a bit more about these? DR: We create immersive environments where everything tells a story, so product design is a natural extension of our work. Often we find ourselves creating something when there is a need in the marketplace for something transformable, flexible, and adaptable to a lot of different kinds of spaces. In the case of Elba, we had developed a friendship and relationship with Paola and her team over our many visits to Milan throughout the years.

We have always loved the brand for its materiality and use of colour, and we often request samples and use it on boards. We wanted something that was neutral and modern that would work in a variety of settings so that designers could adapt to their varied projects.

Because of its form and materiality, the collection has both a classical and retro look. DS: This attention to details extends to even door handles, another recent collaboration is that with Dutch brand Formani. Tell us more about this. Our Eclipse Collection is a series of stainless steel, PVC-coated door fittings with a timeless, modern form that responds ergonomically to the human touch.

Simple, sculptural tooling offers both a square return and round return option and profile. We approached our design concept like we would for an interactive set piece on stage—transforming something everyday into a special object that marks a transition and transformation in a wide range of interiors.

DS: One of my final questions is actually about your most recent institutional intervention regarding the Futures exhibition at the Smithsonian. The studio did exhibition design; could you tell us a bit more about the project and how you created an interactive digital ecosystem? For anyone with a deep appreciation for visionary thinking, it is hallowed ground.

But it was the theme of this exhibit that became our obsession. A predetermined destination, passed down from on-high, that we are all blindly shuttling towards. We have done away with all that with Futures , and are inviting visitors to explore multiple futures that are pluralistic, democratic, and completely malleable.

Our exhibition design encouraged a similarly non-linear experience. From the central rotunda, guests choose which hall to explore next. Each hall has a different concept, based on a specific value and each hall contains its own unique digital beacon, created by our LAB, prompting visitors with theme-based questions about the type of future they would like to see made real.

Visitors can respond using gestures and immediately see how their responses compare to others. As visitors leave the exhibition , a large digital mirror will reflect their image at the centre of an ever-evolving giant kaleidoscope that represents the values, dreams and hopes of all visitors-the future we shape together.

This interaction system uses data collected by the Institute for the Future, a Palo Alto-based non-profit, in order to create a consistent thematic experience, grounded in research. Illuminarium is an entirely new type of collective experience and content. These reprogrammable, immersive theatres surround visitors in a sensory space of sight, sound, and scale.

Radical Media produced the content. For the debut show, WILD: Safari Experience , Radical sent film crews to Africa to capture cinematic content using custom camera arrays that provide a degree native field of view, versus the average degree human field of view, this is content at resolutions many times higher than HD.

Each spectacle has an innovative sound design and custom musical score playing together to create a choreographed, ambisonic soundscape. Like theatre or restaurants, this project was driven by my desire to find ways to gather people and offer them surprising, meaningful experiences, and my interest in new typologies. Devanshi Shah. Currently she is working on a Diploma in Indian Aesthetics. She has been an educator for the past three years.

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Please confirm your email address and we'll send you a link to reset your password. Architecture Design Art. Design 15 mins. Stir Inspire People. In an exclusive interview with STIR, the Tony Award-winning set designer David Rockwell discusses his ideas about designing from an audience-centric, empathy-driven point of view.

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Immersive drives audio capture at IBC

The reduction of spatial variation in the quality of reproduced sound within a defined space using varied loudspeaker placements is a significant challenge for sound engineers. Dr Bruce Wiggins has conducted research into encoding, decoding and processing algorithms using Ambisonics, a system based around full-sphere sound reproduction. The outcomes of the research have been made accessible to the wider community by the creation of a suite of software plug-ins WigWare , a production workflow, and associated teaching materials which can enable commercial audio workstations to benefit from Ambisonics. There are numerous recorded instances of successful use. Ambisonics, pioneered in the 's by Michael Gerzon, is a kernel-based 3D surround sound system. The encoding recording or panning of the audio is separated from the decoding or rendering of the audio to speaker feeds. This means that the system can be rendered to any number of speakers in almost any position in 3D space, as long as the positions of the speakers are known.

Outdoor Speaker Kit

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Qualcomm Patent | User interface for controlling audio rendering for extended reality experiences

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Immerse Yourself in Outdoor Entertainment with AmbiSonic Systems

Immersive HD Model 6. It provides the spine-tingling transparency of planar-ribbon in any outdoor environment, and can configured into arrays for club-level output. Just two 6. Subwoofers are optional, but not required. Immersive HD 6.

Working with Audio

Sound is vital to creating believable and immersive environments. From ambient sounds to interactive sounds of vehicles or weapons, from music cues to spoken dialog, audio in a game can make or break the user experience. The Audio Engine system in Unreal Engine provides tools and features that offer ways for sound designers and engineers to mold audio to match their visions. This means that a clean version of the sound can be produced once in an external application, imported, then crafted within the engine to create the desired result. An overview of the audio system used for playing in-game sounds, including node-based audio Assets in the Sound Cue Editor.

Acoustic audio outdoor speakers

Ambisonic Systems mean obsession. Obsession with thoughtful design. Obsession with utterly faithful audio reproduction. Obsession with the finest components.

Origin Acoustics – AmbiSonic – When the Best Sound Matters

RELATED VIDEO: Ambisonic Audio Fundamentals (2020) - Simon Hutchinson

Then, select the device and choose [Set as Default Device] on the Playback tab. Trust Audio and Sound. Control the volume, set levels, and adjust sound modes with just your voice while the sound bar makes sure your TV always sounds incredible. Shop speakers. We've taken our years of experience in recording virtually every sound known to man and turned them into the world's leading sound libraries.

Digital tools for our community of makers, storytellers and explorers working with locative audio sound triggered by a listener's physical movement. We are geolocated audio specialists working with organisations, businesses and individuals to create whitelabel apps, custom apps, specialist content and more. A sound or multiple sounds contained within shapes on the map, which create geofenced areas. These will trigger content when listeners physically walk inside, by using GPS to determine their location or their proximity using iBeacon technology. Bring your sonic journeys alive with immersive surround sound audio over headphones, no specialist technology required. Hear sound objects around you, walk up and approach them and they stay still as you move you around. Memorable interactive city audio guides quickly and easily — keep your phone in your pocket and focus on what is around you.

The new Immersive HD model 6. Immersive HD model 6. Backyard landscapes, patio and pool areas will come alive with high impact sound.