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L. Reed, M. Harries, A. Hurr, and M. Knight, "Applied Multichannel Recording of a Contemporary Symphony Orchestra for Virtual Reality," Paper 105, (2019 March.). doi: L. Reed, M. Harries, A. Hurr, and M. Knight, "Applied Multichannel Recording of a Contemporary Symphony Orchestra for Virtual Reality," Paper 105, (2019 March.). doi:
Abstract: Capturing musical performances for Virtual Reality (VR) is of growing interest to engineers, cultural organisations and the public. The application of ambisonic workflows in conjunction with binauralisation through head related transfer functions enables perception and localisation of sound sources within three dimensional space, crucially enabling height perception. While there are many excellent examples of orchestral recordings in VR, however, few make use of the height perception and favour ‘on stage’ horizontal positioning. This engineering brief presents a contemporary symphony orchestral performance captured with multichannel spot recordings and produced in second order ambisonics in which 51 performers were individually split and positioned across five levels of the performance space. The paper looks to critically discuss the methods employed addressing the workflow through pre-production, capture and post-production.

@article{reed2019applied,
author={reed, luke and harries, martyn and hurr, alexandre and knight, mathew},
journal={journal of the audio engineering society},
title={applied multichannel recording of a contemporary symphony orchestra for virtual reality},
year={2019},
volume={},
number={},
pages={},
doi={},
month={march},} @article{reed2019applied,
author={reed, luke and harries, martyn and hurr, alexandre and knight, mathew},
journal={journal of the audio engineering society},
title={applied multichannel recording of a contemporary symphony orchestra for virtual reality},
year={2019},
volume={},
number={},
pages={},
doi={},
month={march},
abstract={capturing musical performances for virtual reality (vr) is of growing interest to engineers, cultural organisations and the public. the application of ambisonic workflows in conjunction with binauralisation through head related transfer functions enables perception and localisation of sound sources within three dimensional space, crucially enabling height perception. while there are many excellent examples of orchestral recordings in vr, however, few make use of the height perception and favour ‘on stage’ horizontal positioning. this engineering brief presents a contemporary symphony orchestral performance captured with multichannel spot recordings and produced in second order ambisonics in which 51 performers were individually split and positioned across five levels of the performance space. the paper looks to critically discuss the methods employed addressing the workflow through pre-production, capture and post-production.},}

TY - paper
TI - Applied Multichannel Recording of a Contemporary Symphony Orchestra for Virtual Reality
SP - EP -
AU - Reed, Luke
AU - Harries, Martyn
AU - Hurr, Alexandre
AU - Knight, Mathew
PY - 2019
JO - Journal of the Audio Engineering Society
IS -
VO -
VL -
Y1 - March 2019 TY - paper
TI - Applied Multichannel Recording of a Contemporary Symphony Orchestra for Virtual Reality
SP - EP -
AU - Reed, Luke
AU - Harries, Martyn
AU - Hurr, Alexandre
AU - Knight, Mathew
PY - 2019
JO - Journal of the Audio Engineering Society
IS -
VO -
VL -
Y1 - March 2019
AB - Capturing musical performances for Virtual Reality (VR) is of growing interest to engineers, cultural organisations and the public. The application of ambisonic workflows in conjunction with binauralisation through head related transfer functions enables perception and localisation of sound sources within three dimensional space, crucially enabling height perception. While there are many excellent examples of orchestral recordings in VR, however, few make use of the height perception and favour ‘on stage’ horizontal positioning. This engineering brief presents a contemporary symphony orchestral performance captured with multichannel spot recordings and produced in second order ambisonics in which 51 performers were individually split and positioned across five levels of the performance space. The paper looks to critically discuss the methods employed addressing the workflow through pre-production, capture and post-production.