![]() The piece was for Buchla Boxes, as they were called, the classic voltage-controlled synthesizer modules designed by Donald Buchla in the Sixties. I think a first manifestation made itself apparent to me in a work he did at University of California – San Diego circa 1971 or 1972. Another, perhaps less obvious, yet still indelible quality, a sort of core identity of Warren’s music and sensibility, began to assert itself to me from the beginnings of my acquaintance with him and his work. And for many years now, he has been fascinated by tuning systems as raw material. Give the man a procedure, and he will find a piece or two or – let’s be honest – ten embedded in it. I have a Plogue Bidule setup for converting the H2 surround files to B-format.Warren Burt is a composer, performer, video artist, sound poet, writer, instrument maker (both in hardware and software, electronic and acoustic) and above all a pioneer who started to study modular synthesis back in 1969 at the State University of New York at Albany, with Joel Chadabe, and recorded these 2 compositions on a Buchla 100 in 1972.Īt the time the pieces for our session were composed Ron Robboy wrote : The Tetramic comes with the necessary software a calibration file, so I have a simpler workflow now. My processing of the native B-format microphone assembly included aligning the microphone sensitivities and frequency responses, and I am providing a section with details of how I went about this. AMB files, and produce, to give to other people, both UHJ-encoded CDs for straightforward stereo playback and DTS-encoded CDs for surround playback on conventional home theatre systems. With this equipment, I can make a B-format recording as. ![]() The items marked with * are free, but the others I had to pay for. In addition to the Tetramic software, my main software tools for recording and processing are AudioMulch, Plogue Bidule, WaveLab, VVMic*, and Surcode DTS-CD, together with a number of VST plugins: PPMulator, VVMic VST*, A0 Parametric Equaliser*, and SIR*. This modestly price recorder can record four surround channels from four built-in microphones, and I am experimenting with generating horizontal B-format from the recordings. In no way competing with either of these microphone arrangements, I am also playing with a Zoom H2. The Tetramic is able to be cheap partly because it has no dedicated hardware for processing the capsule outputs and producing B-format signals instead, the capsule outputs are recorded (A-format), and a program (a customised version of VVMic, or a beta of a VST version of the A to B-format processing) is used to generate the B-format signals from them, with the help of the microphone's individual calibration file. I now have a Core Sound Tetramic, which is a cheap alternative to the mics made by Soundfield, but claiming to be as good as them in most respects, and better in some. The hardware I used for recording ambisonics over the first eighteen months was a "native" B-format microphone assembled from AKG Blue Line units (because they were the best I could afford), and a MOTU Traveler interface (in particular, because it has digitally set mic preamp gains). Some of the details are just ways of working with the tools I have available that are not really multichannel tools. ![]() Now that I have recorded a number of concerts ambisonically, I have written down what I do for the benefit or criticism of others as appropriate. ![]() ![]() I first made an ambisonic recording of a concert in March of 2006. ![]()
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