Ambisonics

Project Overview

Make a first-order ambisonic (FOA) mix in REAPER using the Ambisonic Toolkit . You can create an original piece or mix an existing multitrack session. In either case, use spatial placement and movement to shape how we hear the music or scene. Include at least two audible spatial automation moves, visible in your REAPER session. Render both a binaural WAV and an eight-channel 7.1 WAV from the same FOA mix. Add one deliberate low-frequency effect to the 7.1 WAV’s LFE channel.

Choose an Approach

A. Original Ambisonic Work

• Create a 1–3 minute piece of music, sound design, or narrative fiction.
• Record at least one source with the Zoom H3-VR in ambisonic mode.
• Make one original stereo recording using XY, ORTF, or Mid-Side, and document the setup.
• You may use mono sources. Encode them to FOA before applying spatial transforms.

B. Multitrack Ambisonic Mix

• Choose a session from Mike Senior’s multitrack library with at least 20 source tracks. You do not need to use every track.
• Identify two or three focal elements and use placement and movement to support them.
• Encode mono and stereo material to FOA before spatializing it.
• If your session strains the computer, freeze or print heavy effects chains.

Spatial Goals

Decide where the listener should focus. Use depth, height, and rotation when they help the piece, and let some sounds remain still so movement has an effect. Your two automation moves should be audible in the render and serve the music or story.

Project Setup

1. Keep the working mix in FOA B-format. Encode non-ambisonic sources before applying FOA transforms or panners. FOA tracks need four channels.
2. For Project A, set the Zoom H3-VR to record FuMa (WXYZ) so its files work directly with ATK without a conversion step. The recorder can also record AmbiX (ACN/SN3D); if you choose AmbiX, convert it to FuMa before using ATK. Keep channel order and normalization consistent throughout the mix.
3. Keep the FOA bus undecoded. Feed it to separate output tracks for the binaural and 7.1 renders; do not decode each source track.

Follow the ATK setup lesson’s binaural and 7.1 export steps to make both WAVs. The 7.1 file must use the classroom channel order. Put a separate low-frequency effect on channel 4, the LFE channel, using the final print bus shown in the lesson. This is part of the rendered WAV, not merely a hardware send to the subwoofer.

Submission Requirements

Submit these items to D2L:

1. A binaural stereo WAV at 48 kHz / 24-bit for grading.
2. A 7.1 WAV at 48 kHz / 24-bit with eight interleaved channels in the classroom order, including a deliberate effect on LFE channel 4, for playback in class.
3. A consolidated REAPER project. Use “Save As… → Copy all media into project directory,” then zip the folder as lastname_firstname_ambisonics_v1.zip.
4. A two-paragraph reflection of about 250–400 words. Explain your spatial choices, the two automation moves, your LFE effect, and how ATK and the format converter affected the mix. Describe one problem you solved. Include at least one screenshot showing routing or automation. If you chose Project A, also describe both recordings and include a photo of your stereo microphone setup.

Grading Rubric (70 points total)

Total: ___ / 70