How to create ambisonics in first order?

Introduction

Ambisonics is a type of spatial audio which was invented in the 1970s by British engineer Michael
gerzon, it wasn’t commercially success back then due to lack of technology. It has always attracted
researchers in the spatial audio field.

It is mostly recorded using special microphones placed at the centre of sound field giving the listener
a 360 immersive experience of the field. It is being widely used in the VR industry.

What is Ambisonics?
 
The basic approach of Ambisonics is to consider an audio scene as a 360-degree sound field with
signals from different directions around a centre point, covering both the vertical and horizontal axis
(Gerzon, 1973). The centre point is where the microphone is placed during recording or where the
listener's 'sweet spot' is during playback.(waves)
 
It is a channel-based audio format. In Ambisonics, each channel has information about specific
physical properties of the acoustic field, such as the pressure or the acoustic velocity compared to
traditional multichannel audio (e.g. stereo, 5.1 and 7.1 surround) where each channel contains the
signal of a specific speaker. (Arteaga, 15).

What are orders in ambisonics.

Orders

0. Ambisonics at zeroth order has information about the pressure field at the origin or the
centre point as mentioned before (recording of an omnidirectional microphone at the origin).
The channel for the pressure field is called W.
 1. Ambisonics at first order adds information about the acoustic velocity and pressure at the
origin by using recording of three figure-of-eight microphones along each one of the axis).
These channels are called X, Y, Z. X –
channel containing information from front
and rear. Y- Channel containing from the left
and right and the Z – channel containing
from top and bottom of sound field.
(Arteaga, 15).

2. Higher order Ambisonics

At Second and higher order Ambisonics the sound field is added with more derivatives
resulting in more accurate acoustic information.

Formats

A-Format at first order contains raw recording of 4 channels. These recordings don’t have a specific
space in the sound field. These can be individual mono recordings or synthesized sources.

B-Format contains the components of ambisonics channels after placing them in the acoustic field.
(W, X, Y, Z) (Arteaga, 2015)

AmbiX Vs FuMa

There are two conventions within the Ambisonics B- format standard: AmbiX and FuMa. They are
quite similar but not interchangeable: they differ in the order in which the four channels are
arranged, AmbiX being WYZX while FuMa is WXYZ.
FuMa files have an extension of .amb and Ambix has .caf
The main disadvantage of FuMa is the limitation of the file size to 4 GB due to the Microsoft WAV
format as data container. (Nachbar et al, 2011)
Encoding and recording ambisonics

The first step in the Ambisonics chain is to generate a sound field by placing the components in the
acoustic field. These components can synthesized or be a mono recordings or recorded using a
special microphone. (Which we will discuss later.) (Arteaga, 15)

Encoding

A simple Ambisonics panner (or encoder) takes a source signal S and two parameters, the horizontal
angle θ and the elevation angle Ф . It uses them to position the source at the desired angle by
distributing the signal over the Ambisonics components with different gains:
W = S . 1/√2

X = S . cos θ sin Ф

Y = S . sin θ cos Ф

Z = S . sin Ф (Arteaga, 2015)

Being omnidirectional, the W channel always gets

the same constant input signal, regardless of the
angles. W is attenuated by about 3 dB (precisely,
divided by the square root of two), so that it has the
same energy as other channels. (Gerzon 1980).

By placing a mono recording or a synthesized source

at an angular direction using the above equation we
can create an ambisonics B-format recording.
(Arteaga, 15)

Plugins like ambix encoder from Kronlachner’s ambix plugin suite or

the IEM MultiEncoder from the IEM plugin suite can be used to
encode single or multi-channel signals. (Zotter, F., Frank, M., 2019) .
Ambisonics recordings can be synthesised by encoding (panning)
sound sources at specific azimuth and elevation angles. Any mono or
multi-channel track on DAW can be encoded and controlled via the graphical user interface or built-
in automation features of the host.( Kronlachner, M.,2014)

Recording Ambisonics

Ambisonics can be recorded using a special ambisonics microphones or arranging multiple

microphones in particular orientation based on Mid-Side principle to get an A-Format recording.
(Zotter, F., Frank, M., 2019)

The principle of a special ambisonics microphone, or a

combination multiple microphone — relies upon a
combination of bi-polar patterns with an omnidirectional,
pressure sensitive capsule. The output of the omni capsule is
referred to as the 'W' signal and provides information about
the overall amplitude. The X,Y,Z provide the directional
information along the three-axis using bi-polar or figure-of-
eight capsules. (SOS, Hugh Robjohns, 2001)

In practice it is not possible to place all microphones at the same point and hence four cardioid or
sub cardioid capsules are placed in the vertices of a tetrahedron. The 4 microphones give A format
recording.(Arteaga, 2015)

The A-Format recordings of the 4 microphones are :

1) Front-Left-Up (FLU)
2) Front-Right-Down (FRD)
3) Back-Left-Down (BLD)
4) Back-Right-Up (BRU) (Best Ambisonic Microphones)

These can be solved using system of linear equations to get B-

Format recordings

1) W = FLU+FRD+BLD+BRU
2) X = FLU+FRD-BLD-BRU
3) Y = FLU-FRD+BLD-BRU
 4) Z = FLU-FRD-BLD+BRU (A-format to B-format conversion)

Some first order ambisonics microphones are:

1) Sennheiser AMBEO VR Microphone.

2) RØDE NT-SF1
3) Zoom H3-VR
4) Nevaton VR
5) TSL Soundfield ST450
(TSL)

Most of the microphones deliver an A-Format recording and need to be converted to B-Format using
external software which is sometimes provided with the microphone. (Arteaga, 2015)Some of them
discussed above.
The SoundField ST450 is sold together with a preamplifier, which includes an encoder. This device
enables to encode from the recorded A-format directly the B-format or a stereo format.( Kurz, E.,
Pfahler, F., Frank, M., 2015)

Decoding ambisonics

Ambisonics can be played on almost any loudspeaker array and reproduce the spherical sound field
at the listening position. To do this, however, you must decode the four B-format channels for the
specific speaker array. All four B-format channels are summed to loudspeaker array. Each of the four
channels is summed with different gain and phase, depending on the direction of the speakers.
Some of the sources in the mix are summed in phase, while others are summed out of phase at each
speaker. The result is that sources placed in the direction of the speaker are louder, while the
sources in the opposite direction are
softer. (Ambisonics Explained: A Guide
for Sound Engineers) An Ambisonic
decoder generates loudspeaker signals through linear combination of the individual signal
components. ( Kronlachner, M.,2014)

This can be done using plugins like the IEM AllRADecoder which allows you to manually enter a
speaker layout or import loudspeaker coordinates and channel indices, you can have your
ambisonics file decoded for the specific layout. Sometimes an imaginary speaker might need to be
added below whose signal is omitted to make the decoder mathematically functional. (Zotter, F.,
Frank, M., 2019. Ambisonics )
The AllRADecoder is based on All-Round Ambisonic Panning (AllRAP) it is an algorithm for arbitrary
loudspeaker arrangements, aiming at the creation of sources of stable loudness and adjustable
width it uses the combination of a virtual optimal loudspeaker arrangement with Vector-Base
Amplitude Panning. (Zotter, F., Frank, M., 2012)

The ambix decoder plugin relies on

a collection of configuration files
that contain a decoder matrix for a
specific speaker arrangement. The
package contains presets for various
standard surround configurations.
( Kronlachner, M.,2014)

Binaural Decoding is decoding of ambisonics to headphones this can be done with plugins.

201 The BinauralDecoder from IEM

renders the Ambisonic input signal to a
binaural headphone signal using The
MagLS approach for Ambisonic
decoding. (Zotter, F., Frank, M., 9.)
The ambix binaural decoder generates virtual loudspeaker signals, which are then convolved with
the associated binaural loudspeaker room impulse responses. In combination with a head-tracking
system and the ambix rotator rotation plug-in, an even more realistic simulation can be achieved by
taking the listener's head movements into account ( Kronlachner, M.,2014)

(Frank, M., Zotter, F., Sontacchi, A., 2015)

To summarize when all input signals are encoded and summed on an Ambisonic bus, we get the
multi-channel Ambisonic signal representation of an entire audio Ambisonic surround sound signal

additional effects like Eq, Reverb, Width and more can be added to this signal

Decoding to speakers/headphones. To map the modified Ambisonic signal to speakers or

headphones, an Ambisonic decoder is needed as described in the chapter. (Frank, M., Zotter, F.,
Sontacchi, A., 2015)
DAWs and plugins

Reaper (reaper.fm) is highly recommended, as it enables higher order ambisonics by allowing tracks
with up to 64 channels. It is also relatively inexpensive and there is a fully functional free trial version
available. You can also use any other DAW that supports VST and sufficiently many multi-track
channels.(Zotter, F., Frank, M., 2019.)

Plugins

 Free plugin bundles from Kronlachner’s ambix plugin suite and the IEM plugin suite have all
the basic plugins needed to get started.(Zotter, F., Frank, M., 2019.) These plugin bundles
also include effect plugins like reverb, delay, compressor and a few other which can help
improve the project these need to be added into the chain before the decoding stage.
( Rudrich, D., 2018.)

 aXBundle from SSA plugins offers bundles for the entire ambisonics chain.(SSA plugins)

 360° Ambisonics Tools from waves (waves)

Conclusion

We have seen what is ambisonics at first order and how an ambisonics chain works. The encoding of
a chain by using a recorded source from an ambisonics microphone or mono recordings and
synthesized source have been seen using plugins. The principle behind the working of an ambisonics
microphone and the conversion of it to different format. The decoding of it to play it back on
loudspeakers and headphones. Some suitable DAWs and plugins have been suggested to get one
started. This essay only introduces one to ambisonics in first order which is a small part of
ambisonics. There was no discussion about Higher orders of Ambisonics which can be investigated.
Further research can be done to understand the scientific and mathematic principles on the topic.
Book

Zotter, F., Frank, M., 2019. Ambisonics : A Practical 3D Audio Theory for Recording, Studio
Production, Sound Reinforcement, and Virtual Reality. Springer Nature.

Papers

Introduction to Ambisonics by Daniel Arteaga June 15

Nachbar, C., Zotter, F., Deleflie, E., Sontacchi, A., n.d. AMBIX - A SUGGESTED AMBISONICS FORMAT
2011.

Michael A. Gerzon, Periphony: With-Height Sound Reproduction. Journal of the Audio Engineering
Society, 1973, 21

Gerzon, M.A. (February 1980). Practical Periphony. 65th Audio Engineering Society Convention.

London: Audio Engineering Society. p. 7. Preprint 1571. 

Surround Sound Explained: Part 3 [WWW Document], n.d. URL

https://www.soundonsound.com/techniques/surround-sound-explained-part-3 (accessed 12.29.22).
Hugh Robjohns

https://www.soundonsound.com/reviews/voyage-audio-spatial-mic sam inglis

Kurz, E., Pfahler, F., Frank, M., 2015. Comparison of first-order Ambisonic microphone arrays.

Best Ambisonic Microphones (First-Order) [WWW Document], n.d. . Acoustic Nature. URL
https://acousticnature.com/journal/best-ambisonic-microphones-first-order (accessed 12.29.22).

A-format to B-format conversion [WWW Document], n.d. URL http://pcfarina.eng.unipr.it/Public/B-

format/A2B-conversion/A2B.htm (accessed 12.30.22).
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Braun, S., Frank, M., n.d. Localization of 3D Ambisonic Recordings and Ambisonic Virtual Sources.
(2011)

Zotter, F., Frank, M., 2012. All-Round Ambisonic Panning and Decoding. J. Audio Eng. Soc. 60.

Kronlachner, M.,2014. n.d. Plug-in Suite for Mastering the Production and Playback in Surround
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Frank, M., Zotter, F., Sontacchi, A., 2015. Producing 3D Audio in Ambisonics, in: Audio Engineering
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https://plugins.iem.at/docs/plugindescriptions/ (accessed 1.2.23).