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Please note that the 2nd order diffuse reverberation may require the user to set a larger audio output buffer and thus increase the latency of the system. The encoded 2nd order ambisonic signal is converted to a 12-channel A-format signal and then either a) convolved with a B-format RIR which has been "upsampled" to 2nd order and converted to A-format impulse spectrum, or, as in the case of the allpass option, b) passed through a 12-channel bank of allpass filters before being converted back to a 2nd order B-format diffuse signal.
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This technique produces reverberation weighted in the direction of sound events encoded in the dry ambisonic signal and involves conversion to and from A-format in order to apply the effect (ANDERSON). The second type of reverberation may be described as a "2nd order diffuse A-format reverberation". This predominates as the source becomes more distant. The "Close" reverberation of the GUI in this case is "global" and is audible by the listener from all directions when the source is close whereas "distant" reverb is "local" in scope and is encoded as a 2nd order ambisonic signal along with the dry signal. The default reverb type uses John Chowning's technique of applying "local" and "global" reverberation to sources (CHOWNING). A further two reverb types are selectable in the GUI on a per-source basis for both RIR and allpass reverberation modes.
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With both options, two reverberation level controls are included in the GUI to set close and distant levels. Reverberation is performed either using a B-format tail room impulse response (RIR) - the preferred method - or using the built in FreeVerb reverberator, options selectable on creation of a Mosca instance. All sources are subject to high-frequency attenuation with distance and if decoding is performed by one of the ATK's 1st order decoders, a proximity effect is generated adding a bass boost to proximal sources among other phase effects to simulate wave curvature (see: ). Source signals are attenuated proportionally to the inverse of the square root of proximity or in a linear relationship with distance, selectable on a per-source basis via the GUI. Mono and stereo sources are encoded as second order ambisonic signals whereas B-format signals remain as 1st order and are angled in space using "push" transformations. This function has been tested to work with Ardour and Jack. This may be used independently or may be synchronised to a DAW using Midi Machine Control (MMC) messages. Mosca has its own transport provided by the Automation quark for recording and playback of source data. Sound fields may be decoded using a variety of built in 1st order ambisonic SuperCollider decoders (including binaural) or with external 2nd order decoders such as Ambdec in Linux. x, y and z coordinates or auxiliary fader data). In this way, they are spatialised by the GUI and also receive data from the GUI pertaining to the source (eg. In the case of synth input, synths are associated by the user with a particular source in the GUI and registered in a synth registry. Input sources may be any combination of mono, stereo or B-format material and the signals may originate from file, from hardware inputs (physical or from other applications such a DAW via Jack) or from SuperCollider's own synths. The class makes extensive use of the Ambisonic Toolkit ( ATK, see: ) by Joseph Anderson and the Automation quark ( ) by Neels Hofmeyr. Mosca is a SuperCollider class for GUI-assisted production of ambisonic sound fields with simulated moving or stationary sound sources. For details on the upcoming release, see the conference paper by Iain Mott and Thibaud Keller: Three-dimensional sound design with Mosca. The release will bring support for new ambisonic libraries as well as VBAP, OSC support and integration with OSSIA-score, improved GUI, support for higher order ambisonic signals, banks of RIRs selectable on a per-source basis and many other improvements. News: A new version of Mosca will shortly be released, implementing work by Thibaud Keller.