I’ve created this mini-site to support students at the University of Derby using my plug-ins for Music Production and Live Work.  I’ve made it public so others can benefit too!  Feel free to join the site!

UPDATE (Nov 2012): Here’s some videos (recorded live, rather than in my office!) consisting of much of the content from the old videos, but using version 4.x of Reaper which has much better multi-channel routing.  I don’t talk about hierarchical routing in these, but this is still the same, and available further down the page using version 3.x of Reaper.

The YouTube Playlist (comprising of three videos) can be found using this link.

The individual video links are:

WigWare Ambisonic Plugins – Download PC and Mac versions of my 1st order plugins from here.

Reaper Project Templates (1295 downloads)  – Download empty, but completely setup and routed Reaper projects from here.

These are the links to the older videos covering the same material as the new videos above.  I’ve kept them here in case there’s anything I explain better in these (which were recorded in my office) vs the live recorded videos above!

Links to the screen casts detailing how to use the WigWare plug-ins and Ambsionics in Reaper can be found below (all open in new window):

In Reaper, it’s possible to construct a hierarchy of tracks with child tracks automatically routing all channels of that track to the parent. This can potentially simplify and speed up the creation of Ambisonic mixes. If you want to know more, view the following two screencasts!

2 Replies to “Teaching”

  1. Hi Bruce,
    I’ve researched ambisonics i.e. traced it back to its introduction via post war NRDC funding etc.

    Anyway I came across an interesting development and ask for your opinion on it…

    Apparently the original UHJ trans-coder had an unintentional but desirable effect on signals it affected, whereby the the once encoded signals were played back in regular stereo (without being decoded), would leave a greater impression of stereo, than if it had not passed through the transcoder. Though not a huge commercial success, ambisonic releases which did reach the public were described as having a “Super Stereo” quality when played un-decoded. Essentially this is is what I want to investigate. I welcome your opinion or even possibly an explanation. Being familiar with spatial EQ, methods devised much sooner than ambisonics, I wonder if elements of these were carried forward into the transcoder which as you know was designed in part by Mr. Gerzon, who apparently was also aware of these methods at the time, it would be intersting how (or if) the transcoder differs from the “shufflers”.

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