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Philip Cacayorin
Dimensional Audio
on Dec 29, 2010 at 12:50:55 am

I utilize a proprietary microphone design that enables a virtual sound from 2-channels. Focused on a point in space, the signal doesn't require any DSP processing and has he ability to broadcast full frequency spectrum in realtime 3D. When the microphone is placed in the same plane as the lenses, utilizing headphones they literally disappear and it sounds like you are listening without them on your head. I also shoot live stage performances from the "best seat" perspective and it provides the audience experience when you project it back on a 1:1 ratio. More of a cost effective way to broadcast into Cinematic environments with a different experience, yes ? Thoughts are welcomed !

Philip Cacayorin is a Directing Producer of Advanced Media and 3D Sound


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Michael Martin
Re: Dimensional Audio
on Dec 29, 2010 at 1:27:56 am

That's a very interesting concept, I would very much like to hear what you are producing.

-Michael Martin
Martin Media Company LLC
Location Sound/Audio Post Production/Sound Design


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Ty Ford
Re: Dimensional Audio
on Dec 29, 2010 at 11:25:32 pm

Hello Philip and welcome to the Cow Audio Forum.

Please define "virtual sound."

Regards,

Ty Ford

Want better production audio?: Ty Ford's Audio Bootcamp Field Guide





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Philip Cacayorin
Re: Dimensional Audio
on Dec 30, 2010 at 12:11:47 am

I define my sound as "Virtual Sound" since it is quite a bit different than the 3D Sound we experience in the industry today. I've been developing my single stereo apparatus since 1993 when I created the entire soundtrack for National Geographic's "Titanic Revisited", shot in dual 8mm stereoscopic. I've utilized the system in several international applications since then, including the Beijing 2008 Olympic Games.

The microphone and speaker system's are single enclosures, providing a "global" perception of the soundfield and an a/b science of each other. The only products that display a direct relationship between the microphone and the speaker. (As logical and as crazy as it sounds)

The difference between what is recognized as 3D Sound is that I am able to accurately reproduce the soundfield that the microphone perceives from a point in space. The stereo speaker design actually reproduces that soundfield from a point in space in real-time.

The product is significant in that I achieve 1k at 260-degrees from the speaker apparatus without any DSP processing, while the microphone listens globally from two points of interest, uniquely (Patent Pending)

When you do amplify sound with DSP information, it accurately presents the ability to exhibit the information to large audiences accurately. I was successful in installing this system in an 1850 seat, 2 balcony Class A theater in British Columbia where every seat in the house perceives the dimensional information.

Binaural systems present the inability to present front and rear information, even with headphones. These 5.1 microphones are unable to present a real-time or even an accurate soundfield that represents the actual audio environment. My microphone, placed behind a conductor actually hears what the conductor hears accurately, and when monitoring through my single speaker apparatus, you can actually visualize where the instruments are placed. In fact, the system is so accurate that it displays a "Z axis" to the sound.

A good example is when you stand in front of a single acoustic instrument with the microphone, it sounds like when you hear it live. Putting the system in a "best seat" exhibition provides the ability to replicate the experience when it is placed in the same position between an 3D HD Video Rig. Significantly, it can broadcast this experience live without coloring the sound and provides a huge advantage to being able to "sample" environments, etc.

Subsequently, I call it Virtual Sound. This is a much more realistic experience as to how we hear naturally.

I hope that answers your question !
Philip.

Philip Cacayorin is a Directing Producer of Advanced Media and 3D Sound


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Ty Ford
Re: Dimensional Audio
on Dec 30, 2010 at 12:44:58 am

Philip,

Thanks. More questions..

"The microphone and speaker system's are single enclosures" So the micophones and speakers are proprietary?

"an a/b science of each other." What does this mean?

"Binaural systems present the inability to present front and rear information, even with headphones. These 5.1 microphones are unable to present a real-time or even an accurate soundfield that represents the actual audio environment." I was not aware that binaural mics were capable of 5.1. I have a SFX collection (Dimensions something or other) that purports to achieve Z axis sound from 2 channel masters.

"I am able to accurately reproduce the soundfield that the microphone perceives from a point in space. The stereo speaker design actually reproduces that soundfield from a point in space in real-time." So your mono mic reproduces sound through two speakers?

"the microphone listens globally from two points of interest, uniquely (Patent Pending) " One microphone listens from two points in space? One mic with one diaphragm? How did you defy the time space continuum?

Trying to understand.

Regards,

Ty Ford

Want better production audio?: Ty Ford's Audio Bootcamp Field Guide





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Philip Cacayorin
Re: Dimensional Audio
on Dec 30, 2010 at 1:37:40 am

So the micophones and speakers are proprietary?

I am able to utilize just about any microphones and speakers in the apparatus, while the integrity of the system is based on the integrity of the transducers. (Although the do sound better in the apparatus)

I utilize two similar microphones of choice, condenser or even boundary microphones have worked wonderfully. My favorite microphones for the system have been the Schoeps Boundary Layer Capsule BLM 03 C.

I developed a speaker enclosure with Klipsch Professional Audio utilizing their wonderful Klilpsch Horns. This was before they started utilizing China production products. It's the system that achieved the ability to exhibit 260-degrees at 1K, and present the Z-axis information to large audiences.

I was not aware that binaural mics were capable of 5.1.


Sorry misunderstood. Binaural microphones, even with headphones do not have the ability to discern what is front and what is rear information in real-time, but my two microphones in the single apparatus provide a global soundfield accurately with headphones. The 5.1 microphones that are being made available into the marketplace are more of a "hat-trick" and present an interesting, but inaccurate field.

I have a SFX collection (Dimensions something or other) that purports to achieve Z axis sound from 2 channel masters.


I am aware of these libraries. The significant problem is that we can only perceive this axis with headphones, or in the sweetspot of the conventional stereo monitors. This is the problem with conventional speaker systems, and more of an extreme with the surround systems, since with every enclosure you introduce, you challenge the phase coherency integrity of the field. It is literally impossible to achieve phase coherency with conventional designs that achieve that ability to perceive the accurate psychoacoustic information accurately, with the exception of this single sweetspot; goes for existing stereo microphones and speaker systems. Specifically when we are addressing psychoacoustic information provided from two channels.

This addresses your question about the microphone speaker relationship. I'll try to explain it this way, the distance between the two sound sources is the wavelength of the highest frequency perceived accurately in the stereo field. This goes for the microphones and the speakers in my design. Subsequently, if 10K is .11 ft., anything beyond this critical space between the two sound sources is "out of focus" in relation to the opposite channel. But in order to perceive this multi-path of psychoacoustic information accurately, these point sources need to be focused. Subsequently, we need to be in the sweetspot or listen through headphones with conventional systems. This is why I created single microphone and speaker "apparatus", not transducers.

The invention provides the ability to focus the fields more accurately and perceive the information from several points of interest with speakers, and record several points of interest from one point of interest with the microphones. Assuming that when they separated the left and right speakers for whatever reason, they destroyed the integrity of the original soundfield. (Like when you try to image a monophonic sound like a kick drum, or a vocal to absolute center, you need to be in the sweetspot of the speaker array). Further displayed is when you put a microphone on the guitar and an ambient microphone in the field. It's not possible to bring the two channels back into phase to accurately reproduce the sound of the guitar in "reality", but it sure can sound cool ! But I'm more interested in recreating sound as we here it as humans in reality, virtually. I love the sound of standing in front of an orchestra, or a great live mix in a proper theater, more so than an engineers version utilizing multi-microphone arrays and somehow putting them back together into 2 channels accurately somehow. Although it sounds great at times, it's the natural virtual sound that makes it magic for me.

Making more sense ?

Philip Cacayorin is a Directing Producer of Advanced Media and 3D Sound


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Brian Reynolds
Re: Dimensional Audio
on Dec 31, 2010 at 5:01:08 am

Im not a "Flat Earther" but would like to see and listen to a working setup, has it ACTUALLY been made or is an idea from a good salesman?
There doesn't seem to be much info out there in documentation on physics of "Dimensional Audio" other than the sales pitch.


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Philip Cacayorin
Re: Dimensional Audio
on Dec 31, 2010 at 5:35:29 am

I utilized my speaker technology in a few places including a Class A theater in British Columbia (http://www.klipsch.com/na-en/news/features/the-cutting-edge-canadian-theater-uses-klipsch-for-digital-system-details/) and the Beijing 2008 Olympics (http://www.klipsch.com/na-en/news/press-releases/2008-olympics-present-sound-opportunities-for-klipsch-details/).
Well, hearing is believing and in an effort to put the "arm-waving" engineers to rest:

Here is the first public disclosure of my two channel 3D Single Microphone performing real-time auralization.

To experience the virtual soundfield most effectively, put on a pair of headphones, or sit in the "sweetspot" of the conventional stereo pair of speakers, and adjust the volume to a reality volume.

I believe you will agree that you have never heard a single microphone achieve this accurate real-time auralization. The demo is raw, without a wind screen, EQ, FX or DSP Processing, the microphone is literally plugged directly into the camera L and R XLR inputs.

(http://vimeo.com/18316361)

I look forward to feedback !

Thanks in advance to all who post a response !

Philip Cacayorin is a Directing Producer of Advanced Media and 3D Sound


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Philip Cacayorin
Re: Dimensional Audio
on Dec 31, 2010 at 6:55:11 am

I thought I would post the links for you with better access:

Speaker Installations: (copy and paste links)

The Centre in Vancouver for Performing Arts:


http://www.klipsch.com/na-en/news/features/the-cutting-edge-canadian-theate...

Beijing 2008 Olympics

http://www.klipsch.com/na-en/news/press-releases/2008-olympics-present-soun...

The Dimensional Sound Microphone Demonstration:




Philip Cacayorin is a Directing Producer of Advanced Media and 3D Sound


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Philip Cacayorin
Re: Dimensional Audio
on Dec 31, 2010 at 7:37:05 am

hmmmm.

The Dimensional Sound Microphone Demonstration:



Philip Cacayorin is a Directing Producer of Advanced Media and 3D Sound


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Brian Reynolds
Re: Dimensional Audio
on Dec 31, 2010 at 8:52:30 am

The recordings sound very nice and provide a tremendous spacial imagery, giving results very much like the "Blumlein Pair" stereo recording technique.

http://en.wikipedia.org/wiki/Blumlein_Pair

When the recordings are displayed as an X-Y analysis display it shows lots of negative phase imagery [this gives the open sound of the recordings which sounds good] but is almost impossible or impractical to "Broadcast" as this would be picked and corrected by automation with a 180 Deg phase shift flip by the broadcasting chain causing problems in mono sets.
Theatre and live sound using this technique would sound wonderful but be careful in the movie industry as most will end up being broadcast at some time.

Some more info on 3D sound and spacial imagery...

http://en.wikipedia.org/wiki/3D_audio_effect


The difference between Knowledge and Wisdom is... Knowledge is the knowing of facts.... Wisdom is the sensible application of good quality knowledge...


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Philip Cacayorin
Re: Dimensional Audio
on Dec 31, 2010 at 5:14:50 pm

Brian,
Thank you so very much for this, I am so very pleased that you took the time to review the demonstration and provide me with invaluable review. Yes, I am familiar with the Blumlein invention, that's quite flattering. The phase coherency issue is being addressed and I have made this adjustment in the newest prototype. I am quite impressed that you noticed this phenomenon. By providing additional isolation to the two point sources without destroying the integrity of the signal, it seems that I have nailed it. I've been addressing this in the delivery system (single stereo speaker), but of coarse I'm dealing with conventional speaker systems on the consumer side of real life.

The trick is in fractal geometry for sure !

Again, thank you so very much !
Philip.

Philip Cacayorin is a Directing Producer of Advanced Media and 3D Sound


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