1st Order B-Format plug-ins
Solo2B • Duo2B • Stereo2B • Quad2B • Five2B • DMS2B • Zoom2B • Tetra2B • Correct2B • B2B • B2Verb • B2Mix • B2D • B2G • B2Stereo/UHJ

2nd Order B-Format plug-ins
using Furse-Malham weighting
Solo2B2 • Duo2B2 • Quad2B2 • Five2B2 • Zoom2B2 • 2B2Mix • 2B2G

5th Order Planar B-Format plug-ins
using Furse-Malham weighting
Solo2B5 • Duo2B5 • Stereo2B5 • Five2B5 • B2B5 • 5B2G

Note that since the B2X plug-ins were originally made to answer specific Ambisonic production needs in Nuendo/Cubase and similar applications, the plug-ins use, when necessary, dummy inputs or outputs to insure compatibility and ease of use. It's normal then for certain plug-ins to have no signal on dummy outputs.

This is a special set of plug-ins that were develop for a workshop given by Florian Grond on the use of 'simple algorithmic patterns in order to control musical parameters, such as rhythm, pitch, harmony and spatial positioning of sounds'. The workshop took place at OBORO in December 2008 (PDF).

3rd Order Planar B-Format plug-ins
using Furse-Malham weighting
Mono2B3 • B2B3 • 3B2Mix • 3B2Six • B2Stereo

The OBORO plug-ins use third order planar B-Format: channels are then WXYUVPQ. Also note that since the plug-ins were originally made to be used in MaxMSP, they feature the strict number of inputs and outputs needed for them to work. This feature is ideal for a dataflow environment like MaxMSP or Plogue Bidule, but it can make their use cumbersome in VST-based applications (Cubase, Nuendo) or incompatible with Audio Unit-based applications like Logic.

Solo2B • One Channel to 1st Order B-Format Dynamic Panner/Encoder - MIDI enabled

Four inputs (1, three dummies), four outputs (WXYZ). The Solo2B encodes a one channel stream into 1st order B-Format, thus allowing a complete B-Format mix even if some sources have originally one channel (monophonic).

The user-interface allows dynamic positioning of the sound object with distance simulation. The gain will be at unity on the unit circle (white), but will gradually fade to silence the further away from the unit circle. On the other hand, the gain will rise by up to 6 dB and directionality will diminish when the sound object is within the unit circle.

As with any VST plug-in, the Solo2B parameters (XYZ trajectories) can be written on a automation track and read back if the software supports it, like Nuendo or Cubase. The Solo2B is also MIDI enabled for external UI control. Due to a SonicBirth constraint, the «x» parameter controls the Left/Right data and the «y» parameter controls the Front/Back data in the Solo2B.

Further soundfield manipulations can be done with the B2B processor, inserted after the Solo2B.

Duo2B • Two Channels to 1st Order B-Format Dynamic Panner/Encoder - MIDI enabled

Four inputs (1, 2, two dummies), four outputs (WXYZ). The Duo2B encodes a two channels stream into 1st order B-Format, thus allowing a complete B-Format mix even if some sources have originally two channels (stereophonic).

The user-interface allows independent dynamic positioning of the two sound objects with distance simulation. The gain will be at unity on the unit circle (white), but will gradually fade to silence the further away from the unit circle. On the other hand, the gain will rise by up to 6 dB and directionality will diminish when the sound object is within the unit circle.

As with any VST plug-in, the Duo2B parameters (XYZ trajectories) can be written on automation tracks and read back if the software supports it, like Nuendo or Cubase. The Duo2B is also MIDI enabled for external UI control. Due to a SonicBirth constraint, the «x» parameter controls the Left/Right data and the «y» parameter controls the Front/Back data in the Duo2B.

Further soundfield manipulations can be done with the B2B processor, inserted after the Duo2B.

Stereo2B • Stereophony to 1st Order B-Format Encoder

Four inputs (Left, Right, two dummies), four outputs (WXYZ, Z is a dummy). The Stereo2B encodes a stereo stream into 1st order B-Format, thus allowing a complete B-Format mix even if some sources are originally in stereo.

The width control will narrow or widen the left-right distribution in B-Format. Default is Antipode, 180° apart, for maximum separation. This will place the Left channel 90° left from Center and the Right channel 90° right from Center.

Further soundfield manipulations can be done with the B2B processor, inserted after the Stereo2B. The Stereo2B is designed for static positioning: for dynamic positioning, use the Duo2B.

Quad2B • Quadraphonic sound to 1st Order B-Format Transcoder

Four inputs (Left-Front, Right-Front, Left-Back, Right-Back) and four outputs (WXYZ, Z is a dummy). The Quad2B will transcode (going from one surround format to another) a quadraphonic stream into 1st order B-Format, thus allowing a complete B-Format mix even if some sources are originally in quadraphonic sound.

Referenced to Center, the Quad2B will place the original Left-Front channel at 45° left, Right-Front at 45° right, Left-Back at 135° left and Right-Back at 135° right.

The Quad2B can be used with quadraphonic microphones, like the Line Audio QM12i, the Pearl DS 60 or the vintage Neumann QM 69, to transform them into B-Format microphones. The Quad2B is also useful for the Altiverb plug-in with quadraphonic impulse responses to transcode the reverb effect into B-Format.

Further soundfield manipulations can be done with the B2B processor, inserted after the Quad2B.

Five2B • 5.1 Surround to 1st Order B-Format Transcoder

Six inputs (Left, Right, Center, Lfe, Ls, Rs) and four outputs (WXYZ, Z is a dummy). The Five2B will transcode (going from one surround format to another) a 5.1 stream into 1st order B-Format, thus allowing a complete B-Format mix even if some sources are originally in 5.1.

Referenced to Center, the Five2B will place the original Left channel at 72° left, Right at 72° right, Center at 0°, Lfe is omnidirectional, Ls at 144° left and Rs at 144° right. This azimuthal distribution is isotropic and will maximize channel separation.

The Five2B can be used with five channel microphones, like the SPL Atmos or the Holophone to transform them into B-Format microphones.

Further soundfield manipulations can be done with the B2B processor.

DMS2B • Schoeps Double MS to 1st Order B-Format Converter

Three inputs (M-Front, S, M-Back) and three outputs (WXY). The DMS2B will convert the three channel stream out of a Schoeps Double MS assembly into 1st order B-Format.

The Input Trim control is to adjust the individual input levels of the three microphones. The DMS2B is adjusted to the specific sensitivities of the CCM 4, CCM 4V and CCM 8, but if level discrepancies occurred in the recording, they can be compensated by up to 6 dB. A good practice with a Double MS assembly is to globally adjust the recording levels (not individually per channel) to maintain the level relationship between channels.

Further soundfield manipulations can be done with the B2B processor.

Zoom2B • Zoom H2 to 1st Order B-Format Transcoder

Four inputs (Left, Right, Ls, Rs) and four outputs (WXYZ, Z is a dummy). The Zoom2B will transcode (going from one surround format to another) the surround stream out of the Zoom H2 portable recorder into 1st order B-Format.

Referenced to Center, the Zoom2B will place the original Left channel at 45° left, Right at 45° right, Ls at 120° left and Rs at 120° right.

Further soundfield manipulations can be done with the B2B processor, but are not recommended since Zoom H2 surround pickup is not isotropic.

N.B. If you're not familiar with Ambisonic technology, you can try our Zoom2Five plug-in that will directly transcode the Zoom H2 four channel surround to 5.1 surround.

Tetra2B • A-Format Tetrahedral Microphone Array to 1st Order B-Format Converter

Four inputs (Front-Left-Up, Front-Right-Down, Back-Left-Down, Back-Right-Up) and four outputs (WXYZ). The Tetra2B will convert the four channel stream out of a tetrahedral microphone array to 1st order B-Format.

The Tetra2B uses impulse responses for the A to B conversion, with presets for the Core Sound TetraMic and the SoundField SPS200. There is also a Generic setting that does not feature any high frequency equalization and phase shifting (that's normally necessary to compensate for the capsules non-coincidence), but it can still be used to test tetrahedral microphone array prototypes. When using the TetraMic or SPS200 setting, the Sample Rate setting must correspond to the sample rate of the audio being processed.

Similar to SoundField mic control units, the Tetra2B incorporates an End Fire switch to compensate for the microphone array being on its 'belly' (front-side facing downwards) and an Invert switch to compensate for the microphone being upside down (top-side facing downwards).

Further soundfield manipulations can be done with the B2B processor, inserted after the Tetra2B.

Correct2B • 1st Order B-Format Corrector

Four inputs (WXYZ) and four outputs (WXYZ). The Correct2B is used to correct misaligned B-Format stream, either in interchannel level or interchannel timing.

Level correction allows for +/- 6 dB of adjustment per channel. Delay correction can add up to 5000 samples per channel.

B2B • 1st Order B-Format Processor

Four inputs (WXYZ) and four outputs (WXYZ). The B2B will process a 1st order B-Format stream to manipulate the soundfield with Rotation, Elevation, Tilt and Axis Flip.

All manipulations are done from the listener's point of view: a rotation to the left will move the center to the right. The B2B can be used on individual B-Format streams or on a B-Format mix.

B2Verb • 1st Order B-Format Reverb

Four inputs (WXY, Z is a dummy input) and four outputs (WXY, Z is a dummy output). The B2Verb will generate a 1st order B-Format reverb from a B-Format stream.

The B2Verb uses Apple Matrix Reverb, an Audio Unit plug-in bundled with macOS, to process the signal. The B2Verb features the 13 presets (from 'plate' to 'cathedral') of the Apple Matrix Reverb.

B2Mix • 1st Order B-Format Eight Channel Mixer

32 inputs (WXYZ*8) and four outputs (WXYZ). The B2Mix will mix up to eight 1st order B-Format streams.

This plug-in can be useful in audio applications that are not mixers per se, like Plogue Bidule.

B2D • 1st Order B-Format Decoder

12 inputs (WXYZ and eight dummies) and 12 outputs (speakers 1 to 12). The B2D can decode a 1st order B-Format stream up to twelve speaker-feeds.

Each output features Azimuth and Elevation (default 0°, leveled center) for controling the azimuth and elevation of the virtual microphone feeding the loudspeaker, Directivity between 0 and 1st order to control the directivity of the virtual microphone (0 being an omnidirectional microphone, 1 being a figure-8 microphone, with the default at 0.5, equivalent to a cardioid/unidirectional microphone), Level to attenuate by up to 24 dB (default 0 dB, no attenuation), Delay to adjust uneven speaker distances by up to 35 milliseconds (default 0 ms, no delay) and Mute (default Off, no mute).

The Interpolation Control affects the sound quality of the delay. The Linear interpolation setting will yield better sound quality, but will use more CPU. Default to No interpolation.

There's also a shelf filter option to conform to the signal processing found in classic 1st order Ambisonic decoders. A detailed explanation of the why and the how the shefl filter is used is available here.

Mute unused channels to optimize CPU performance.

If you are decoding to conventional 5.1 setup, use the B2G.

B2G • 1st Order B-Format Decoder for 5.1 Surround

Six inputs (WXYZ, Z is a dummy, plus two dummies) and six outputs (Left, Right, Center, Lfe, Ls, Rs). The B2G can decode a 1st order B-Format stream to three channel stereo (LRC), quadraphonics or 5.1 surround.

Control features are specific to the different outputs.

The Front/LR output controls are joined together: Width varies Left/Right width from 0 to 180° (default 60°, referenced to Center), Directivitycontrols the directivity of the virtual microphones feeding the speakers (0 being an omnidirectional microphone, 1 being a figure-8 microphone, with the default at 0.5, equivalent to a cardioid/unidirectional microphone), Level can attenuate by up to 24 dB (default 0 dB, no attenuation) and Mute (default Off, no mute).

The Center output controls feature Directivitythat modifies the directivity of the virtual microphone feeding the speaker between omnidirectional and figure-8/bidirectional (default to 0.5, cardioid/unidirectional), Level can attenuate by up to 24 dB (default 0 dB, no attenuation) and Mute (default Off, no mute).

The Sub/Lfe output controls feature Level to attenuate by up to 24 dB (default 0 dB, no attenuation), EQ is a lowpass filter that can be adjusted between 20 and 160 Hz (default 120 Hz) and Mute (default Off, no mute).

The Surround/LsRs output controls are joined together: Width varies Ls/Rs width from 180 to 360° (default 240°, referenced to Center), Directivitycontrols the directivity of the virtual microphones feeding the speakers between omnidirectional and figure-8/bidirectional (default to 0.5, cardioid/unidirectional),Level can attenuate by up to 24 dB (default 0 dB, no attenuation), Delay up to 35 milliseconds to augment Front-Back separation (default 0 ms, no delay) and Mute (default Off, no mute).

The Output first drop-down menu controls whether the output is the default Surround or individually the W, X, Y or Z channel to the Left and Right speakers for monitoring purposes. The second drop-down menu configures the output channel arrangement. This can be useful in preparing the stream for audio applications that expect surround channels in a specific arrangement. Apple Logic 8 users should select the third option: L R Ls Rs C Lfe.

There's also a shelf filter option to conform to the signal processing found in classic 1st order Ambisonic decoders. A detailed explanation of the why and the how the shefl filter is used is available here.

The Interpolation Control affects the sound quality of the Surround Ls/Rs delay. The Linear interpolation setting will yield better sound quality, but will use more CPU. Default to No interpolation.

Mute unused channels to optimize CPU performance.

Note on the Sub/Lfe: activate the Sub/Lfe when monitoring without bass management. Deactivate (Mute) it when generating the actual stream for the 5.1 media: the B2G will then output a 5.0 stream, but the media player/surround processor will likely feature bass management if the 5.0 stream is delivered on DVD-Video, DVD-Audio, DTS-CD, SACD, HD-DVD, Blu-ray disc or HDTV broadcast. More details on the use of the Lfe channel available here.

B2Stereo/UHJ • 1st Order B-Format Decoder for Stereo / 1st Order B-Format to Stereo UHJ Encoder

Four inputs (WXYZ) and four outputs (Left, Right and two dummies). The B2Stereo/UHJ can decode a 1st order B-Format stream to stereophony or transcode a 1st order B-Format stream to Stereo Ambisonic UHJ.

The Output drop-down menu controls whether the output is Stereo, Stereo UHJ, W, X, Y or Z. The monitoring of individual B-Format channel is useful when recording a B-Format stream with limited monitoring on stereo speakers or headphones.

Width varies Left/Right width from 0 to 180° (default 180°), Directivity controls the directivity of the virtual microphones feeding the speakers between 0 and 1st order (0 being an omnidirectional microphone, 1 being a figure-8 microphone, with the default at 0.5, equivalent to a cardioid/unidirectional microphone).

The Stereo-Maxx option links the width and directivity of the left/right virtual microphones to maximize stereo separation. This is done by putting the apex of one side virtual microphone into the null point of the other side virtual microphone. When the Stereo-Maxx option is activated, only the Width control is active. The Directivity is determined by the selected Width.

The UHJ SR drop-down menu is for selecting the sample rate according to the processed B-Format audio stream: 44.1 kHz, 48 kHz and 96 kHz. This sample rate selection is relevant only when Stereo UHJ is selected in the Output control.

Stereo UHJ impulse responses courtesy of Angelo Farina.

Solo2B2 • One Channel to 2nd Order B-Format Dynamic Panner/Encoder - MIDI enabled

Nine inputs (1, eight dummies), nine outputs (WXYZRSTUV). The Solo2B2 encodes a one channel stream into 2nd order B-Format, thus allowing a complete B-Format mix even if some sources have originally one channel (monophonic).

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The user-interface allows dynamic positioning of the sound object with distance simulation. The gain will be at unity on the unit circle (white), but will gradually fade to silence the further away from the unit circle. On the other hand, the gain will rise by up to 6 dB and directionality will diminish when the sound object is within the unit circle.

As with any VST plug-in, the Solo2B2 parameters (XYZ trajectories) can be written on a automation track and read back if the software supports it, like Nuendo or Cubase. The Solo2B2 is also MIDI enabled for external UI control. Due to a SonicBirth constraint, the «x» parameter controls the Left/Right data and the «y» parameter controls the Front/Back data in the Solo2B2.

Duo2B2 • Two Channels to 2nd Order B-Format Dynamic Panner/Encoder - MIDI enabled

Nine inputs (1, 2, seven dummies), nine outputs (WXYZRSTUV). The Duo2B2 encodes a two channels stream into 2nd order B-Format, thus allowing a complete B-Format mix even if some sources have originally two channels (stereophonic).

The user-interface allows independent dynamic positioning of the two sound objects with distance simulation. The gain will be at unity on the unit circle (white), but will gradually fade to silence the further away from the unit circle. On the other hand, the gain will rise by up to 6 dB and directionality will diminish when the sound object is within the unit circle.

As with any VST plug-in, the Duo2B2 parameters (XYZ trajectories) can be written on automation tracks and read back if the software supports it, like Nuendo or Cubase. The Duo2B2 is also MIDI enabled for external UI control. Due to a SonicBirth constraint, the «x» parameter controls the Left/Right data and the «y» parameter controls the Front/Back data in the Duo2B2.

Quad2B2 • Quadraphonic sound to 2nd Order B-Format Transcoder

Nine inputs (Left-Front, Right-Front, Left-Back, Right-Back and five dummies) and nine outputs (WXYZRSTUV, ZRSTU are dummies). The Quad2B will transcode (going from one surround format to another) a quadraphonic stream into 2nd order B-Format, thus allowing a complete B-Format mix even if some sources are originally in quadraphonic sound.

Referenced to Center, the Quad2B will place the original Left-Front channel at 45° left, Right-Front at 45° right, Left-Back at 135° left and Right-Back at 135° right.

The Quad2B2 can be used with quadraphonic microphones, like the Line Audio QM12i, the Pearl DS 60 or the vintage Neumann QM 69, to transform them into B-Format microphones. The Quad2B2 is also useful for the Altiverb plug-in with quadraphonic impulse responses to include the reverb effect in a B-Format mix.

Five2B2 • 5.1 Surround to 2nd Order B-Format Transcoder

Nine inputs (Left, Right, Center, Lfe, Ls, Rs, plus three dummies) and nine outputs (WXYZRSTUV, ZRST are dummies). The Five2B2 will transcode (going from one surround format to another) a 5.1 stream into 2nd order B-Format, thus allowing a complete B-Format mix even if some sources are originally in 5.1.

Referenced to Center, the Five2B2 will place the original Left channel at 72° left, Right at 72° right, Center at 0°, Lfe is omnidirectional, Ls at 144° left and Rs at 144° right. This azimuthal distribution is isotropic and will maximize channel separation.

The Five2B2 can be used with five channel microphones, like the SPL Atmos or the Holophone to transform them into B-Format microphones.

Zoom2B2 • Zoom H2 to 2nd Order B-Format Transcoder

Nine inputs (Left, Right, Ls, Rs plus five dummies) and four outputs (WXYZRSTUV, ZRST are dummies). The Zoom2B2 will transcode (going from one surround format to another) the surround stream out of the Zoom H2 portable recorder into 2nd order B-Format.

Referenced to Center, the Zoom2B will place the original Left channel at 45° left, Right at 45° right, Ls at 120° left and Rs at 120° right.

N.B. If you're not familiar with Ambisonic technology, you can try our Zoom2Five plug-in that will directly transcode the Zoom H2 four channel surround to 5.1 surround.

2B2Mix • 2nd Order B-Format Eight Channel Mixer

72 inputs (WXYZRSTUV*8) and nine outputs (WXYZRSTUV). The 2B2Mix will mix up to eight second order B-Format streams.

This plug-in can be useful in audio applications that are not mixers per se, like Plogue Bidule.

2B2G • 2nd Order B-Format Decoder for 5.1/6.1 Surround

Nine inputs (WXYZRSTUV, ZRST are dummies) and nine outputs (Left, Right, Center, Lfe, Ls, Rs, Cs plus two dummies). The 2B2G can decode a 2nd order B-Format stream to three channel stereo (LRC), quadraphonics, 5.1 surround or 6.1 surround.

Control features are specific to the different outputs.

The Front/LR output controls are joined together: Width varies Left/Right width from 0 to 180° (default 60°, referenced to Center), Directivitycontrols the directivity of the virtual microphones feeding the speakers between 1st order cardioid and 2nd order cardioid (default to 1st order), Level can attenuate by up to 24 dB (default 0 dB, no attenuation) and Mute (default Off, no mute).

The Center output controls feature Directivitythat modifies the directivity of the virtual microphone feeding the speaker between 1st order cardioid and 2nd order cardioid (default to 1st order), Level can attenuate by up to 24 dB (default 0 dB, no attenuation) and Mute (default Off, no mute).

The Sub/Lfe output controls feature Level to attenuate by up to 24 dB (default 0 dB, no attenuation), EQ is a lowpass filter that can be adjusted between 20 and 160 Hz (default 120 Hz) and Mute (default Off, no mute).

The Surround/LsRs output controls are joined together: Width varies Ls/Rs width from 180 to 360° (default 240°, referenced to Center), Directivitycontrols the directivity of the virtual microphones feeding the speakers between 1st order cardioid and 2nd order cardioid (default to 1st order),Level can attenuate by up to 24 dB (default 0 dB, no attenuation), Delay up to 35 milliseconds to augment Front-Back separation (default 0 ms, no delay) and Mute (default Off, no mute).

The Output first drop-down menu controls whether the output is the default Surround or individually the W, X, Y or Z channel to the Left and Right speakers for monitoring purposes. The second drop-down menu configures the output channel arrangement. This can be useful in preparing the stream for audio applications that expect surround channels in a specific arrangement. Apple Logic 8 users should select the third option: L R Ls Rs C Lfe.

The Interpolation Control affects the sound quality of the Surround Ls/Rs delay. The Linear interpolation setting will yield better sound quality, but will use more CPU. Default to No interpolation.

Mute unused channels to optimize CPU performance.

Note on the Sub/Lfe: activate the Sub/Lfe when monitoring without bass management. Deactivate (Mute) it when generating the actual stream for the 5.1 media: the B2G will then output a 5.0 stream, but the media player/surround processor will likely feature bass management if the 5.0 stream is delivered on DVD-Video, DVD-Audio, DTS-CD, SACD, HD-DVD, Blu-ray disc or HDTV broadcast. More details on the use of the Lfe channel available here.

Solo2B5 • One Channel to 5th Order Planar B-Format Dynamic Planar Panner/Encoder - MIDI enabled

12 inputs (1, 11 dummies), 12 outputs (WXYZUVPQ/4C/4S/5C/5S). The Solo2B5 encodes a one channel stream into 5th order planar B-Format, thus allowing a complete B-Format mix even if some sources have originally one channel (monophonic).

The user-interface allows dynamic positioning of the sound object with distance simulation. The gain will be at unity on the unit circle (white), but will gradually fade to silence the further away from the unit circle. On the other hand, the gain will rise by up to 6 dB and directionality will diminish when the sound object is within the unit circle.

As with any VST plug-in, the Solo2B5 parameters (XY trajectory) can be written on a automation track and read back if the software supports it, like Nuendo or Cubase. The Solo2B5 is also MIDI enabled for external UI control. Due to a SonicBirth constraint, the «x» parameter controls the Left/Right data and the «y» parameter controls the Front/Back data in the Solo2B5.

Duo2B5 • Two Channels to 5th Order Planar B-Format Dynamic Panner/Encoder - MIDI enabled

12 inputs (1, 2, nine dummies), 12 outputs (WXYZUVPQ/4C/4S/5C/5S). The Duo2B5 encodes a two channels stream into 5th order B-Format, thus allowing a complete B-Format mix even if some sources have originally two channels (stereophonic).

The user-interface allows independent dynamic positioning of the two sound objects with distance simulation. The gain will be at unity on the unit circle (white), but will gradually fade to silence the further away from the unit circle. On the other hand, the gain will rise by up to 6 dB and directionality will diminish when the sound object is within the unit circle.

As with any VST plug-in, the Duo2B5 parameters (XY trajectory) can be written on automation tracks and read back if the software supports it, like Nuendo or Cubase. The Duo2B5 is also MIDI enabled for external UI control. Due to a SonicBirth constraint, the «x» parameter controls the Left/Right data and the «y» parameter controls the Front/Back data in the Duo2B5.

Stereo2B5 • Stereophony to 5th Order Planar B-Format Encoder

12 inputs (Left, Right, nine dummies), 12 outputs (WXYZUVPQ/4C/4S/5C/5S). The Stereo2B encodes a stereo stream into 5th order B-Format, thus allowing a complete B-Format mix even if some sources are originally in stereo.

The width control will narrow or widen the left-right distribution in B-Format. Default is Antipode, 180° apart, for maximum separation. This will place the Left channel 90° left from Center and the Right channel 90° right from Center.

Further soundfield manipulations can be done with the B2B5 processor, inserted after the Stereo2B5. The Stereo2B5 is designed for static positioning: for dynamic positioning, use the Duo2B5.

Five2B5 • 5.1 Surround to 5th Order Planar B-Format Transcoder

12 inputs (Left, Right, Center, Lfe, Ls, Rs, plus six dummies) and 12 outputs (WXYZUVPQ/4C/4S/5C/5S). The Five2B5 will transcode (going from one surround format to another) a 5.1 stream into 5th order B-Format, thus allowing a complete B-Format mix even if some sources are originally in 5.1.

Referenced to Center, the Five2B5 will place the original Left channel at 72° left, Right at 72° right, Center at 0°, Lfe is omnidirectional, Ls at 144° left and Rs at 144° right. This azimuthal distribution is isotropic and will maximize channel separation.

The Five2B5 can be used with five channel microphones, like the SPL Atmos or the Holophone to transform them into B-Format microphones.

B2B5 • 5th Order Planar B-Format Processor

12 inputs (WXYZUVPQ/4C/4S/5C/5S) and 12 outputs (WXYZUVPQ/4C/4S/5C/5S). The B2B5 will process a 5th order B-Format stream to manipulate the soundfield with Rotation and Axis Flip.

All manipulations are done from the listener's point of view: a rotation to the left will move the center to the right. The B2B5 can be used on individual B-Format streams or on a B-Format mix.

5B2G • 5th Order Planar B-Format Decoder for 5.1/6.1 Surround

12 inputs (WXYZUVPQ/4C/4S/5C/5S) and 12 outputs (Left, Right, Center, Lfe, Ls, Rs, Cs, plus five dummies). The 5B2G can decode a 5th order B-Format stream to three channel stereo (LRC), quadraphonics, 5.1 surround or 6.1 surround.

Control features are specific to the different outputs.

The Front/LR output controls are joined together: Width varies Left/Right width from 0 to 180° (default 144°, referenced to Center), Directivitycontrols the directivity of the virtual microphones feeding the speakers between 1st order cardioid and 5th order cardioid (default to 1st order), Level can attenuate by up to 24 dB (default 0 dB, no attenuation) and Mute (default Off, no mute).

The Center Front output controls feature Directivitythat modifies the directivity of the virtual microphone feeding the speaker between 1st order cardioid and 5th order cardioid (default to 1st order), Level can attenuate by up to 24 dB (default 0 dB, no attenuation) and Mute (default Off, no mute).

The Sub/Lfe output controls feature Level to attenuate by up to 24 dB (default 0 dB, no attenuation), EQ is a lowpass filter that can be adjusted between 20 and 160 Hz (default 120 Hz) and Mute (default Off, no mute).

The Surround/LsRs output controls are joined together: Width varies Ls/Rs width from 180 to 360° (default 288°, referenced to Center), Directivitycontrols the directivity of the virtual microphones feeding the speakers between 1st order cardioid and 5th order cardioid (default to 1st order),Level can attenuate by up to 24 dB (default 0 dB, no attenuation).

The Center Back output controls feature Directivitythat modifies the directivity of the virtual microphone feeding the speaker between 1st order cardioid and 5th order cardioid (default to 1st order), Level can attenuate by up to 24 dB (default 0 dB, no attenuation) and Mute (default Off, no mute).

Surround Delay up to 35 milliseconds on the Ls, Rs and Cs output channels to augment Front-Back separation (default 0 ms, no delay) and Mute (default Off, no mute).

The Output first drop-down menu controls whether the output is the default Surround or individually the W, X, Y or Z channel to the Left and Right speakers for monitoring purposes. The second drop-down menu configures the output channel arrangement. This can be useful in preparing the stream for audio applications that expect surround channels in a specific arrangement. Apple Logic 8 users should select the third option: L R Ls Rs C Lfe.

The Interpolation Control affects the sound quality of the Surround Ls/Rs/Cs delay. The Linear interpolation setting will yield better sound quality, but will use more CPU. Default to No interpolation.

Mute unused channels to optimize CPU performance.

Note on the Sub/Lfe: activate the Sub/Lfe when monitoring without bass management. Deactivate (Mute) it when generating the actual stream for the 5.1 media: the B2G will then output a 5.0 stream, but the media player/surround processor will likely feature bass management if the 5.0 stream is delivered on DVD-Video, DVD-Audio, DTS-CD, SACD, HD-DVD, Blu-ray disc or HDTV broadcast. More details on the use of the Lfe channel available here.

Seven inputs (WXYUVPQ) and seven outputs (Left, Right, Center, Lfe, Ls, Rs, Cs). The 3B2Six can decode a 3rd order planar B-Format stream to three channel stereo (LRC), quadraphonics, 5.1 surround or 6.1 surround.

Control features are specific to the different outputs.

The Left + Right output controls are joined together: Width varies Left/Right width from 0 to 180° (default 90°, referenced to Center), Directivitycontrols the directivity of the virtual microphones feeding the speakers between 1st order cardioid and 3rd order cardioid (default to 2nd order), Level can attenuate by up to 24 dB (default 0 dB, no attenuation) and Mute (default Off, no mute).

The Center output controls feature Directivity that modifies the directivity of the virtual microphone feeding the speaker between 1st order cardioid and 3rd order cardioid (default to 2nd order), Level can attenuate by up to 24 dB (default 0 dB, no attenuation) and Mute (default Off, no mute).

The Sub / Lfe output controls feature Level to attenuate by up to 24 dB (default 0 dB, no attenuation), EQ is a lowpass filter that can be adjusted between 20 and 160 Hz (default 120 Hz) and Mute (default Off, no mute).

The Left + Right / Surround output controls are joined together: Width varies Ls/Rs width from 180 to 360° (default 270°, referenced to Center), Directivitycontrols the directivity of the virtual microphones feeding the speakers between 1st order cardioid and 3rd order cardioid (default to 2nd order),Level can attenuate by up to 24 dB (default 0 dB, no attenuation) and Mute (default Off, no mute).

The Center Surround output controls feature Directivity that modifies the directivity of the virtual microphone feeding the speaker between 1st order cardioid and 3rd order cardioid (default to 1st order), Level can attenuate by up to 24 dB (default 0 dB, no attenuation) and Mute (default Off, no mute).

The Output first drop-down menu controls whether the output is the default Surround or individually the W, X or Y channel to the Left and Right speakers for monitoring purposes. The second drop-down menu configures the output channel arrangement. This can be useful in preparing the stream for audio applications that expect surround channels in a specific arrangement.

Mute unused channels to optimize CPU performance.

B2Stereo • 1st Order Planar B-Format Decoder for Stereo

Three inputs (WXY) and two outputs (Left, Right). The B2Stereo will decode a 1st order planar B-Format stream to stereophony.

Width varies Left/Right width from 0 to 180° (default 180°), Directivity controls the directivity of the virtual microphones feeding the speakers between 0 and 1st order (0 being an omnidirectional microphone, 1 being a figure-8 microphone, with the default at 0.5, equivalent to a cardioid/unidirectional microphone).

The Max-Stereo Decode Modelinks the width and directivity to maximize stereo separation/interchannel difference. This is done by putting the most sensitive part of one side virtual microphone into the null point of the other side virtual microphone.

The Output drop-down menu controls whether the output is Stereo, W, X or Y.

© Daniel Courville, 2007-2019

1st Order B-Format plug-ins
Solo2B • Duo2B • Stereo2B • Quad2B • Five2B • DMS2B • Zoom2B • Tetra2B • Correct2B • B2B • B2Verb • B2Mix • B2D • B2G • B2Stereo/UHJ

2nd Order B-Format plug-ins
using Furse-Malham weighting
Solo2B2 • Duo2B2 • Quad2B2 • Five2B2 • Zoom2B2 • 2B2Mix • 2B2G

5th Order Planar B-Format plug-ins
using Furse-Malham weighting
Solo2B5 • Duo2B5 • Stereo2B5 • Five2B5 • B2B5 • 5B2G

Note that since the B2X plug-ins were originally made to answer specific Ambisonic production needs in Nuendo/Cubase and similar applications, the plug-ins use, when necessary, dummy inputs or outputs to insure compatibility and ease of use. It's normal then for certain plug-ins to have no signal on dummy outputs.

This is a special set of plug-ins that were develop for a workshop given by Florian Grond on the use of 'simple algorithmic patterns in order to control musical parameters, such as rhythm, pitch, harmony and spatial positioning of sounds'. The workshop took place at OBORO in December 2008 (PDF).

3rd Order Planar B-Format plug-ins
using Furse-Malham weighting
Mono2B3 • B2B3 • 3B2Mix • 3B2Six • B2Stereo

The OBORO plug-ins use third order planar B-Format: channels are then WXYUVPQ. Also note that since the plug-ins were originally made to be used in MaxMSP, they feature the strict number of inputs and outputs needed for them to work. This feature is ideal for a dataflow environment like MaxMSP or Plogue Bidule, but it can make their use cumbersome in VST-based applications (Cubase, Nuendo) or incompatible with Audio Unit-based applications like Logic.

Solo2B • One Channel to 1st Order B-Format Dynamic Panner/Encoder - MIDI enabled

Four inputs (1, three dummies), four outputs (WXYZ). The Solo2B encodes a one channel stream into 1st order B-Format, thus allowing a complete B-Format mix even if some sources have originally one channel (monophonic).

The user-interface allows dynamic positioning of the sound object with distance simulation. The gain will be at unity on the unit circle (white), but will gradually fade to silence the further away from the unit circle. On the other hand, the gain will rise by up to 6 dB and directionality will diminish when the sound object is within the unit circle.

As with any VST plug-in, the Solo2B parameters (XYZ trajectories) can be written on a automation track and read back if the software supports it, like Nuendo or Cubase. The Solo2B is also MIDI enabled for external UI control. Due to a SonicBirth constraint, the «x» parameter controls the Left/Right data and the «y» parameter controls the Front/Back data in the Solo2B.

Further soundfield manipulations can be done with the B2B processor, inserted after the Solo2B.

Duo2B • Two Channels to 1st Order B-Format Dynamic Panner/Encoder - MIDI enabled

Four inputs (1, 2, two dummies), four outputs (WXYZ). The Duo2B encodes a two channels stream into 1st order B-Format, thus allowing a complete B-Format mix even if some sources have originally two channels (stereophonic).

The user-interface allows independent dynamic positioning of the two sound objects with distance simulation. The gain will be at unity on the unit circle (white), but will gradually fade to silence the further away from the unit circle. On the other hand, the gain will rise by up to 6 dB and directionality will diminish when the sound object is within the unit circle.

As with any VST plug-in, the Duo2B parameters (XYZ trajectories) can be written on automation tracks and read back if the software supports it, like Nuendo or Cubase. The Duo2B is also MIDI enabled for external UI control. Due to a SonicBirth constraint, the «x» parameter controls the Left/Right data and the «y» parameter controls the Front/Back data in the Duo2B.

Further soundfield manipulations can be done with the B2B processor, inserted after the Duo2B.

Stereo2B • Stereophony to 1st Order B-Format Encoder

Four inputs (Left, Right, two dummies), four outputs (WXYZ, Z is a dummy). The Stereo2B encodes a stereo stream into 1st order B-Format, thus allowing a complete B-Format mix even if some sources are originally in stereo.

I’d like to be able to easily analyze, for a given speaker: what% of the time was the person talking (sound vs. Well, as with a noise gate, you should be able to say how long a pause is between sounds counts as a break in a speech and starting a new one.Has anything like this ever been made, or are there clever ways to use existing plugins that I’m not figuring out to do something like what I’m talking about? Also, what gets counted as a speech? Ideally for both of these, I’d like to be able to set a parameter for what gets counted in the measurement: so for length of speeches, if a speech is less than 14 sec (or whatever value), then it doesn’t get counted as a speech at all. Free stereo imager vst software. Silence) and what was the average length of the person’s speeches (and how many speeches there are).

The width control will narrow or widen the left-right distribution in B-Format. Default is Antipode, 180° apart, for maximum separation. This will place the Left channel 90° left from Center and the Right channel 90° right from Center.

Further soundfield manipulations can be done with the B2B processor, inserted after the Stereo2B. The Stereo2B is designed for static positioning: for dynamic positioning, use the Duo2B.

Quad2B • Quadraphonic sound to 1st Order B-Format Transcoder

Four inputs (Left-Front, Right-Front, Left-Back, Right-Back) and four outputs (WXYZ, Z is a dummy). The Quad2B will transcode (going from one surround format to another) a quadraphonic stream into 1st order B-Format, thus allowing a complete B-Format mix even if some sources are originally in quadraphonic sound.

Referenced to Center, the Quad2B will place the original Left-Front channel at 45° left, Right-Front at 45° right, Left-Back at 135° left and Right-Back at 135° right.

The Quad2B can be used with quadraphonic microphones, like the Line Audio QM12i, the Pearl DS 60 or the vintage Neumann QM 69, to transform them into B-Format microphones. The Quad2B is also useful for the Altiverb plug-in with quadraphonic impulse responses to transcode the reverb effect into B-Format.

Further soundfield manipulations can be done with the B2B processor, inserted after the Quad2B.

Five2B • 5.1 Surround to 1st Order B-Format Transcoder

Six inputs (Left, Right, Center, Lfe, Ls, Rs) and four outputs (WXYZ, Z is a dummy). The Five2B will transcode (going from one surround format to another) a 5.1 stream into 1st order B-Format, thus allowing a complete B-Format mix even if some sources are originally in 5.1.

Referenced to Center, the Five2B will place the original Left channel at 72° left, Right at 72° right, Center at 0°, Lfe is omnidirectional, Ls at 144° left and Rs at 144° right. This azimuthal distribution is isotropic and will maximize channel separation.

The Five2B can be used with five channel microphones, like the SPL Atmos or the Holophone to transform them into B-Format microphones.

Further soundfield manipulations can be done with the B2B processor.

DMS2B • Schoeps Double MS to 1st Order B-Format Converter

Three inputs (M-Front, S, M-Back) and three outputs (WXY). The DMS2B will convert the three channel stream out of a Schoeps Double MS assembly into 1st order B-Format.

The Input Trim control is to adjust the individual input levels of the three microphones. The DMS2B is adjusted to the specific sensitivities of the CCM 4, CCM 4V and CCM 8, but if level discrepancies occurred in the recording, they can be compensated by up to 6 dB. A good practice with a Double MS assembly is to globally adjust the recording levels (not individually per channel) to maintain the level relationship between channels.

Further soundfield manipulations can be done with the B2B processor.

Zoom2B • Zoom H2 to 1st Order B-Format Transcoder

Four inputs (Left, Right, Ls, Rs) and four outputs (WXYZ, Z is a dummy). The Zoom2B will transcode (going from one surround format to another) the surround stream out of the Zoom H2 portable recorder into 1st order B-Format.

Referenced to Center, the Zoom2B will place the original Left channel at 45° left, Right at 45° right, Ls at 120° left and Rs at 120° right.

Further soundfield manipulations can be done with the B2B processor, but are not recommended since Zoom H2 surround pickup is not isotropic.

N.B. If you're not familiar with Ambisonic technology, you can try our Zoom2Five plug-in that will directly transcode the Zoom H2 four channel surround to 5.1 surround.

Tetra2B • A-Format Tetrahedral Microphone Array to 1st Order B-Format Converter

Four inputs (Front-Left-Up, Front-Right-Down, Back-Left-Down, Back-Right-Up) and four outputs (WXYZ). The Tetra2B will convert the four channel stream out of a tetrahedral microphone array to 1st order B-Format.

The Tetra2B uses impulse responses for the A to B conversion, with presets for the Core Sound TetraMic and the SoundField SPS200. There is also a Generic setting that does not feature any high frequency equalization and phase shifting (that's normally necessary to compensate for the capsules non-coincidence), but it can still be used to test tetrahedral microphone array prototypes. When using the TetraMic or SPS200 setting, the Sample Rate setting must correspond to the sample rate of the audio being processed.

Similar to SoundField mic control units, the Tetra2B incorporates an End Fire switch to compensate for the microphone array being on its 'belly' (front-side facing downwards) and an Invert switch to compensate for the microphone being upside down (top-side facing downwards).

Further soundfield manipulations can be done with the B2B processor, inserted after the Tetra2B.

Correct2B • 1st Order B-Format Corrector

Four inputs (WXYZ) and four outputs (WXYZ). The Correct2B is used to correct misaligned B-Format stream, either in interchannel level or interchannel timing.

Level correction allows for +/- 6 dB of adjustment per channel. Delay correction can add up to 5000 samples per channel.

B2B • 1st Order B-Format Processor

Four inputs (WXYZ) and four outputs (WXYZ). The B2B will process a 1st order B-Format stream to manipulate the soundfield with Rotation, Elevation, Tilt and Axis Flip.

All manipulations are done from the listener's point of view: a rotation to the left will move the center to the right. The B2B can be used on individual B-Format streams or on a B-Format mix.

B2Verb • 1st Order B-Format Reverb

Four inputs (WXY, Z is a dummy input) and four outputs (WXY, Z is a dummy output). The B2Verb will generate a 1st order B-Format reverb from a B-Format stream.

The B2Verb uses Apple Matrix Reverb, an Audio Unit plug-in bundled with macOS, to process the signal. The B2Verb features the 13 presets (from 'plate' to 'cathedral') of the Apple Matrix Reverb.

B2Mix • 1st Order B-Format Eight Channel Mixer

32 inputs (WXYZ*8) and four outputs (WXYZ). The B2Mix will mix up to eight 1st order B-Format streams.

This plug-in can be useful in audio applications that are not mixers per se, like Plogue Bidule.

B2D • 1st Order B-Format Decoder

12 inputs (WXYZ and eight dummies) and 12 outputs (speakers 1 to 12). The B2D can decode a 1st order B-Format stream up to twelve speaker-feeds.

Each output features Azimuth and Elevation (default 0°, leveled center) for controling the azimuth and elevation of the virtual microphone feeding the loudspeaker, Directivity between 0 and 1st order to control the directivity of the virtual microphone (0 being an omnidirectional microphone, 1 being a figure-8 microphone, with the default at 0.5, equivalent to a cardioid/unidirectional microphone), Level to attenuate by up to 24 dB (default 0 dB, no attenuation), Delay to adjust uneven speaker distances by up to 35 milliseconds (default 0 ms, no delay) and Mute (default Off, no mute).

The Interpolation Control affects the sound quality of the delay. The Linear interpolation setting will yield better sound quality, but will use more CPU. Default to No interpolation.

There's also a shelf filter option to conform to the signal processing found in classic 1st order Ambisonic decoders. A detailed explanation of the why and the how the shefl filter is used is available here.

Mute unused channels to optimize CPU performance.

If you are decoding to conventional 5.1 setup, use the B2G.

B2G • 1st Order B-Format Decoder for 5.1 Surround

Six inputs (WXYZ, Z is a dummy, plus two dummies) and six outputs (Left, Right, Center, Lfe, Ls, Rs). The B2G can decode a 1st order B-Format stream to three channel stereo (LRC), quadraphonics or 5.1 surround.

Control features are specific to the different outputs.

The Front/LR output controls are joined together: Width varies Left/Right width from 0 to 180° (default 60°, referenced to Center), Directivitycontrols the directivity of the virtual microphones feeding the speakers (0 being an omnidirectional microphone, 1 being a figure-8 microphone, with the default at 0.5, equivalent to a cardioid/unidirectional microphone), Level can attenuate by up to 24 dB (default 0 dB, no attenuation) and Mute (default Off, no mute).

The Center output controls feature Directivitythat modifies the directivity of the virtual microphone feeding the speaker between omnidirectional and figure-8/bidirectional (default to 0.5, cardioid/unidirectional), Level can attenuate by up to 24 dB (default 0 dB, no attenuation) and Mute (default Off, no mute).

The Sub/Lfe output controls feature Level to attenuate by up to 24 dB (default 0 dB, no attenuation), EQ is a lowpass filter that can be adjusted between 20 and 160 Hz (default 120 Hz) and Mute (default Off, no mute).

The Surround/LsRs output controls are joined together: Width varies Ls/Rs width from 180 to 360° (default 240°, referenced to Center), Directivitycontrols the directivity of the virtual microphones feeding the speakers between omnidirectional and figure-8/bidirectional (default to 0.5, cardioid/unidirectional),Level can attenuate by up to 24 dB (default 0 dB, no attenuation), Delay up to 35 milliseconds to augment Front-Back separation (default 0 ms, no delay) and Mute (default Off, no mute).

The Output first drop-down menu controls whether the output is the default Surround or individually the W, X, Y or Z channel to the Left and Right speakers for monitoring purposes. The second drop-down menu configures the output channel arrangement. This can be useful in preparing the stream for audio applications that expect surround channels in a specific arrangement. Apple Logic 8 users should select the third option: L R Ls Rs C Lfe.

There's also a shelf filter option to conform to the signal processing found in classic 1st order Ambisonic decoders. A detailed explanation of the why and the how the shefl filter is used is available here.

The Interpolation Control affects the sound quality of the Surround Ls/Rs delay. The Linear interpolation setting will yield better sound quality, but will use more CPU. Default to No interpolation.

Mute unused channels to optimize CPU performance.

Note on the Sub/Lfe: activate the Sub/Lfe when monitoring without bass management. Deactivate (Mute) it when generating the actual stream for the 5.1 media: the B2G will then output a 5.0 stream, but the media player/surround processor will likely feature bass management if the 5.0 stream is delivered on DVD-Video, DVD-Audio, DTS-CD, SACD, HD-DVD, Blu-ray disc or HDTV broadcast. More details on the use of the Lfe channel available here.

B2Stereo/UHJ • 1st Order B-Format Decoder for Stereo / 1st Order B-Format to Stereo UHJ Encoder

Four inputs (WXYZ) and four outputs (Left, Right and two dummies). The B2Stereo/UHJ can decode a 1st order B-Format stream to stereophony or transcode a 1st order B-Format stream to Stereo Ambisonic UHJ.

The Output drop-down menu controls whether the output is Stereo, Stereo UHJ, W, X, Y or Z. The monitoring of individual B-Format channel is useful when recording a B-Format stream with limited monitoring on stereo speakers or headphones.

Width varies Left/Right width from 0 to 180° (default 180°), Directivity controls the directivity of the virtual microphones feeding the speakers between 0 and 1st order (0 being an omnidirectional microphone, 1 being a figure-8 microphone, with the default at 0.5, equivalent to a cardioid/unidirectional microphone).

The Stereo-Maxx option links the width and directivity of the left/right virtual microphones to maximize stereo separation. This is done by putting the apex of one side virtual microphone into the null point of the other side virtual microphone. When the Stereo-Maxx option is activated, only the Width control is active. The Directivity is determined by the selected Width.

The UHJ SR drop-down menu is for selecting the sample rate according to the processed B-Format audio stream: 44.1 kHz, 48 kHz and 96 kHz. This sample rate selection is relevant only when Stereo UHJ is selected in the Output control.

Stereo UHJ impulse responses courtesy of Angelo Farina.

Solo2B2 • One Channel to 2nd Order B-Format Dynamic Panner/Encoder - MIDI enabled

Nine inputs (1, eight dummies), nine outputs (WXYZRSTUV). The Solo2B2 encodes a one channel stream into 2nd order B-Format, thus allowing a complete B-Format mix even if some sources have originally one channel (monophonic).

The user-interface allows dynamic positioning of the sound object with distance simulation. The gain will be at unity on the unit circle (white), but will gradually fade to silence the further away from the unit circle. On the other hand, the gain will rise by up to 6 dB and directionality will diminish when the sound object is within the unit circle.

As with any VST plug-in, the Solo2B2 parameters (XYZ trajectories) can be written on a automation track and read back if the software supports it, like Nuendo or Cubase. The Solo2B2 is also MIDI enabled for external UI control. Due to a SonicBirth constraint, the «x» parameter controls the Left/Right data and the «y» parameter controls the Front/Back data in the Solo2B2.

Duo2B2 • Two Channels to 2nd Order B-Format Dynamic Panner/Encoder - MIDI enabled

Nine inputs (1, 2, seven dummies), nine outputs (WXYZRSTUV). The Duo2B2 encodes a two channels stream into 2nd order B-Format, thus allowing a complete B-Format mix even if some sources have originally two channels (stereophonic).

The user-interface allows independent dynamic positioning of the two sound objects with distance simulation. The gain will be at unity on the unit circle (white), but will gradually fade to silence the further away from the unit circle. On the other hand, the gain will rise by up to 6 dB and directionality will diminish when the sound object is within the unit circle.

As with any VST plug-in, the Duo2B2 parameters (XYZ trajectories) can be written on automation tracks and read back if the software supports it, like Nuendo or Cubase. The Duo2B2 is also MIDI enabled for external UI control. Due to a SonicBirth constraint, the «x» parameter controls the Left/Right data and the «y» parameter controls the Front/Back data in the Duo2B2.

Quad2B2 • Quadraphonic sound to 2nd Order B-Format Transcoder

Nine inputs (Left-Front, Right-Front, Left-Back, Right-Back and five dummies) and nine outputs (WXYZRSTUV, ZRSTU are dummies). The Quad2B will transcode (going from one surround format to another) a quadraphonic stream into 2nd order B-Format, thus allowing a complete B-Format mix even if some sources are originally in quadraphonic sound.

Referenced to Center, the Quad2B will place the original Left-Front channel at 45° left, Right-Front at 45° right, Left-Back at 135° left and Right-Back at 135° right.

The Quad2B2 can be used with quadraphonic microphones, like the Line Audio QM12i, the Pearl DS 60 or the vintage Neumann QM 69, to transform them into B-Format microphones. The Quad2B2 is also useful for the Altiverb plug-in with quadraphonic impulse responses to include the reverb effect in a B-Format mix.

Five2B2 • 5.1 Surround to 2nd Order B-Format Transcoder

Nine inputs (Left, Right, Center, Lfe, Ls, Rs, plus three dummies) and nine outputs (WXYZRSTUV, ZRST are dummies). The Five2B2 will transcode (going from one surround format to another) a 5.1 stream into 2nd order B-Format, thus allowing a complete B-Format mix even if some sources are originally in 5.1.

Referenced to Center, the Five2B2 will place the original Left channel at 72° left, Right at 72° right, Center at 0°, Lfe is omnidirectional, Ls at 144° left and Rs at 144° right. This azimuthal distribution is isotropic and will maximize channel separation.

The Five2B2 can be used with five channel microphones, like the SPL Atmos or the Holophone to transform them into B-Format microphones.

Zoom2B2 • Zoom H2 to 2nd Order B-Format Transcoder

Nine inputs (Left, Right, Ls, Rs plus five dummies) and four outputs (WXYZRSTUV, ZRST are dummies). The Zoom2B2 will transcode (going from one surround format to another) the surround stream out of the Zoom H2 portable recorder into 2nd order B-Format.

Referenced to Center, the Zoom2B will place the original Left channel at 45° left, Right at 45° right, Ls at 120° left and Rs at 120° right.

N.B. If you're not familiar with Ambisonic technology, you can try our Zoom2Five plug-in that will directly transcode the Zoom H2 four channel surround to 5.1 surround.

2B2Mix • 2nd Order B-Format Eight Channel Mixer

72 inputs (WXYZRSTUV*8) and nine outputs (WXYZRSTUV). The 2B2Mix will mix up to eight second order B-Format streams.

This plug-in can be useful in audio applications that are not mixers per se, like Plogue Bidule.

2B2G • 2nd Order B-Format Decoder for 5.1/6.1 Surround

Nine inputs (WXYZRSTUV, ZRST are dummies) and nine outputs (Left, Right, Center, Lfe, Ls, Rs, Cs plus two dummies). The 2B2G can decode a 2nd order B-Format stream to three channel stereo (LRC), quadraphonics, 5.1 surround or 6.1 surround.

Control features are specific to the different outputs.

The Front/LR output controls are joined together: Width varies Left/Right width from 0 to 180° (default 60°, referenced to Center), Directivitycontrols the directivity of the virtual microphones feeding the speakers between 1st order cardioid and 2nd order cardioid (default to 1st order), Level can attenuate by up to 24 dB (default 0 dB, no attenuation) and Mute (default Off, no mute).

The Center output controls feature Directivitythat modifies the directivity of the virtual microphone feeding the speaker between 1st order cardioid and 2nd order cardioid (default to 1st order), Level can attenuate by up to 24 dB (default 0 dB, no attenuation) and Mute (default Off, no mute).

The Sub/Lfe output controls feature Level to attenuate by up to 24 dB (default 0 dB, no attenuation), EQ is a lowpass filter that can be adjusted between 20 and 160 Hz (default 120 Hz) and Mute (default Off, no mute).

The Surround/LsRs output controls are joined together: Width varies Ls/Rs width from 180 to 360° (default 240°, referenced to Center), Directivitycontrols the directivity of the virtual microphones feeding the speakers between 1st order cardioid and 2nd order cardioid (default to 1st order),Level can attenuate by up to 24 dB (default 0 dB, no attenuation), Delay up to 35 milliseconds to augment Front-Back separation (default 0 ms, no delay) and Mute (default Off, no mute).

The Output first drop-down menu controls whether the output is the default Surround or individually the W, X, Y or Z channel to the Left and Right speakers for monitoring purposes. The second drop-down menu configures the output channel arrangement. This can be useful in preparing the stream for audio applications that expect surround channels in a specific arrangement. Apple Logic 8 users should select the third option: L R Ls Rs C Lfe.

The Interpolation Control affects the sound quality of the Surround Ls/Rs delay. The Linear interpolation setting will yield better sound quality, but will use more CPU. Default to No interpolation.

Mute unused channels to optimize CPU performance.

Note on the Sub/Lfe: activate the Sub/Lfe when monitoring without bass management. Deactivate (Mute) it when generating the actual stream for the 5.1 media: the B2G will then output a 5.0 stream, but the media player/surround processor will likely feature bass management if the 5.0 stream is delivered on DVD-Video, DVD-Audio, DTS-CD, SACD, HD-DVD, Blu-ray disc or HDTV broadcast. More details on the use of the Lfe channel available here.

Solo2B5 • One Channel to 5th Order Planar B-Format Dynamic Planar Panner/Encoder - MIDI enabled

12 inputs (1, 11 dummies), 12 outputs (WXYZUVPQ/4C/4S/5C/5S). The Solo2B5 encodes a one channel stream into 5th order planar B-Format, thus allowing a complete B-Format mix even if some sources have originally one channel (monophonic).

The user-interface allows dynamic positioning of the sound object with distance simulation. The gain will be at unity on the unit circle (white), but will gradually fade to silence the further away from the unit circle. On the other hand, the gain will rise by up to 6 dB and directionality will diminish when the sound object is within the unit circle.

As with any VST plug-in, the Solo2B5 parameters (XY trajectory) can be written on a automation track and read back if the software supports it, like Nuendo or Cubase. The Solo2B5 is also MIDI enabled for external UI control. Due to a SonicBirth constraint, the «x» parameter controls the Left/Right data and the «y» parameter controls the Front/Back data in the Solo2B5.

Duo2B5 • Two Channels to 5th Order Planar B-Format Dynamic Panner/Encoder - MIDI enabled

12 inputs (1, 2, nine dummies), 12 outputs (WXYZUVPQ/4C/4S/5C/5S). The Duo2B5 encodes a two channels stream into 5th order B-Format, thus allowing a complete B-Format mix even if some sources have originally two channels (stereophonic).

The user-interface allows independent dynamic positioning of the two sound objects with distance simulation. The gain will be at unity on the unit circle (white), but will gradually fade to silence the further away from the unit circle. On the other hand, the gain will rise by up to 6 dB and directionality will diminish when the sound object is within the unit circle.

As with any VST plug-in, the Duo2B5 parameters (XY trajectory) can be written on automation tracks and read back if the software supports it, like Nuendo or Cubase. The Duo2B5 is also MIDI enabled for external UI control. Due to a SonicBirth constraint, the «x» parameter controls the Left/Right data and the «y» parameter controls the Front/Back data in the Duo2B5.

Stereo2B5 • Stereophony to 5th Order Planar B-Format Encoder

12 inputs (Left, Right, nine dummies), 12 outputs (WXYZUVPQ/4C/4S/5C/5S). The Stereo2B encodes a stereo stream into 5th order B-Format, thus allowing a complete B-Format mix even if some sources are originally in stereo.

The width control will narrow or widen the left-right distribution in B-Format. Default is Antipode, 180° apart, for maximum separation. This will place the Left channel 90° left from Center and the Right channel 90° right from Center.

Further soundfield manipulations can be done with the B2B5 processor, inserted after the Stereo2B5. The Stereo2B5 is designed for static positioning: for dynamic positioning, use the Duo2B5.

Five2B5 • 5.1 Surround to 5th Order Planar B-Format Transcoder

12 inputs (Left, Right, Center, Lfe, Ls, Rs, plus six dummies) and 12 outputs (WXYZUVPQ/4C/4S/5C/5S). The Five2B5 will transcode (going from one surround format to another) a 5.1 stream into 5th order B-Format, thus allowing a complete B-Format mix even if some sources are originally in 5.1.

Referenced to Center, the Five2B5 will place the original Left channel at 72° left, Right at 72° right, Center at 0°, Lfe is omnidirectional, Ls at 144° left and Rs at 144° right. This azimuthal distribution is isotropic and will maximize channel separation.

The Five2B5 can be used with five channel microphones, like the SPL Atmos or the Holophone to transform them into B-Format microphones.

B2B5 • 5th Order Planar B-Format Processor

12 inputs (WXYZUVPQ/4C/4S/5C/5S) and 12 outputs (WXYZUVPQ/4C/4S/5C/5S). The B2B5 will process a 5th order B-Format stream to manipulate the soundfield with Rotation and Axis Flip.

All manipulations are done from the listener's point of view: a rotation to the left will move the center to the right. The B2B5 can be used on individual B-Format streams or on a B-Format mix.

5B2G • 5th Order Planar B-Format Decoder for 5.1/6.1 Surround

12 inputs (WXYZUVPQ/4C/4S/5C/5S) and 12 outputs (Left, Right, Center, Lfe, Ls, Rs, Cs, plus five dummies). The 5B2G can decode a 5th order B-Format stream to three channel stereo (LRC), quadraphonics, 5.1 surround or 6.1 surround.

Control features are specific to the different outputs.

The Front/LR output controls are joined together: Width varies Left/Right width from 0 to 180° (default 144°, referenced to Center), Directivitycontrols the directivity of the virtual microphones feeding the speakers between 1st order cardioid and 5th order cardioid (default to 1st order), Level can attenuate by up to 24 dB (default 0 dB, no attenuation) and Mute (default Off, no mute).

The Center Front output controls feature Directivitythat modifies the directivity of the virtual microphone feeding the speaker between 1st order cardioid and 5th order cardioid (default to 1st order), Level can attenuate by up to 24 dB (default 0 dB, no attenuation) and Mute (default Off, no mute).

The Sub/Lfe output controls feature Level to attenuate by up to 24 dB (default 0 dB, no attenuation), EQ is a lowpass filter that can be adjusted between 20 and 160 Hz (default 120 Hz) and Mute (default Off, no mute).

The Surround/LsRs output controls are joined together: Width varies Ls/Rs width from 180 to 360° (default 288°, referenced to Center), Directivitycontrols the directivity of the virtual microphones feeding the speakers between 1st order cardioid and 5th order cardioid (default to 1st order),Level can attenuate by up to 24 dB (default 0 dB, no attenuation).

The Center Back output controls feature Directivitythat modifies the directivity of the virtual microphone feeding the speaker between 1st order cardioid and 5th order cardioid (default to 1st order), Level can attenuate by up to 24 dB (default 0 dB, no attenuation) and Mute (default Off, no mute).

Surround Delay up to 35 milliseconds on the Ls, Rs and Cs output channels to augment Front-Back separation (default 0 ms, no delay) and Mute (default Off, no mute).

The Output first drop-down menu controls whether the output is the default Surround or individually the W, X, Y or Z channel to the Left and Right speakers for monitoring purposes. The second drop-down menu configures the output channel arrangement. This can be useful in preparing the stream for audio applications that expect surround channels in a specific arrangement. Apple Logic 8 users should select the third option: L R Ls Rs C Lfe.

The Interpolation Control affects the sound quality of the Surround Ls/Rs/Cs delay. The Linear interpolation setting will yield better sound quality, but will use more CPU. Default to No interpolation.

Mute unused channels to optimize CPU performance.

Note on the Sub/Lfe: activate the Sub/Lfe when monitoring without bass management. Deactivate (Mute) it when generating the actual stream for the 5.1 media: the B2G will then output a 5.0 stream, but the media player/surround processor will likely feature bass management if the 5.0 stream is delivered on DVD-Video, DVD-Audio, DTS-CD, SACD, HD-DVD, Blu-ray disc or HDTV broadcast. More details on the use of the Lfe channel available here.

B2Stereo • 1st Order Planar B-Format Decoder for Stereo

Three inputs (WXY) and two outputs (Left, Right). The B2Stereo will decode a 1st order planar B-Format stream to stereophony.

Width varies Left/Right width from 0 to 180° (default 180°), Directivity controls the directivity of the virtual microphones feeding the speakers between 0 and 1st order (0 being an omnidirectional microphone, 1 being a figure-8 microphone, with the default at 0.5, equivalent to a cardioid/unidirectional microphone).

The Max-Stereo Decode Modelinks the width and directivity to maximize stereo separation/interchannel difference. This is done by putting the most sensitive part of one side virtual microphone into the null point of the other side virtual microphone.

The Output drop-down menu controls whether the output is Stereo, W, X or Y.

© Daniel Courville, 2007-2019