ATK-REAPER QUICK REFERENCE

Main source:
http://www.ambisonictoolkit.net/documentation/reaper/
See also for the transforms:
http://www.ambisonictoolkit.net/documentation/supercollider/

ENCODERS

ATK FOA ENCODE OMNI

Encodes a mono signal as an omnidirectional soundfield.

ATK FOA ENCODE PLANEWAVE

Provides classic encoding of a mono source as a planewave, where the arrival direction (azimuth
and elevation) can be set.

W=in*0.707
X= in * cos(azi) + in * cos(ele)
Y= in * sin(azi) + in * cos(ele)
Z= in * sin(ele)

ATK FOA ENCODE DIFFUSER

The frequency diffusion technique encodes a monophonic signal into B-format by randomising the
phase of the signal across the soundfield sphere, by frequency.

ATK FOA ENCODE SPREADER

The frequency spreading technique encodes a monophonic signal into B-format by smoothly
rotating the signal across the soundfield sphere, by frequency.

ATK FOA ENCODE STEREO

Stereo encoding with widht control.

LR to MS:
M = .707 (L + R)
S = .707(L − R)
MS to LR:
L = .707 (M + S)
R = .707 (M - S)

ATK FOA ENCODE SUPER STEREO

The Super Stereo encoding technique is the classic method for encoding stereophonic signals into
B-format. Not to be confused with UHJ.

ATK FOA ENCODE UHJ STEREO

Performs the inverse equations on an UHJ Ambisonics Stereo format to retrieve the (2D) B-Format
soundfield.

ATK FOA ENCODE 5.0

5.1 ITU format to BF
The 5.0 signal is encoded as five planewaves arriving at [ 0, 30, 110, -110, -30 ]
degrees. This encoding is equivalent to placing infinitely distant loudspeakers around a soundfield
microphone in an anechoic chamber.

ATK FOA ENCODE 7.0

7.1 ITU format to BF
The 7.0 signal is encoded as seven planewaves arriving at [ 0, 30, 90, 135, -135, -90,
-30 ] degrees. This encoding is equivalent to placing infinitely distant loudspeakers around a
soundfield microphone in an anechoic chamber.

ATK FOA ENCODE PANTOPHONIC (2D)

Regular 2D speakers arrays.

ATK FOA ENCODE QUADRAPHONIC

2D four speakers arrays.
The quadraphonic signal is encoded as four planewaves arriving at [ 45, 135, -135, -45 ]
degrees. This encoding is equivalent to placing infinitely distant loudspeakers around a soundfield
microphone in an anechoic chamber.

ATK FOA ENCODE PERIPHONIC (3D)

Regular 3D speakers arrays.

ATK FOA ENCODE AMBIXtoB

Ambix to B-Format

ATK FOA ENCODE AtoB

From A (tetrahedron) to B format.
To consider:
1-Orientation of the A-format tetrahedron.
'flu' ,'fld', 'flr' , etc.

2-W signal scaling:

Decorrelated 1/sqrt(3) Hyper-cardioid 0.75

'can' Canonical (B-format) 1/sqrt(2)
'uns' Unscaled 1 Super-cardioid
'car' Cardioid sqrt(3) Cardioid
DECODERS

ATK FOA DECODE MONO

This virtual microphone decoder returns a single channel, and can be used to ‘listen in’ to the
soundfield at the specified azimuth and elevation.

ATK FOA DECODE BINAURAL

For hedphones only, based on sets of HRTF.

ATK FOA DECODE UHJ STEREO

For loudspeakers and headphones.
Decoding equation:
Derecho = (0,0928− 0,255 j)X+ (0,4699+ 0,171j)W− (0,3225+ 0,00855 j)Y
Izquierdo = (0,0928+ 0,255 j)X+ (0,4699− 0,171j)W+ (0,3225− 0,00855 j)Y

ATK FOA DECODE STEREO

Returns a pair of virtual microphones.

ATK FOA DECODE 5.0

Uses Bruce Wiggins optimised ITU 5.0 decoders.

ATK FOA DECODE PANTOPHONIC (2D)

Regular 2D speakers arrays.

ATK FOA DECODE QUADRAPHONIC

Optimised quadraphonic decoder with variable loudspeaker angle.

ATK FOA DECODE PERIPHONIC (3D)

Regular 3D speakers arrays.

ATK FOA DECODE BtoAMBIX

From B-format to Ambix.

ATK FOA DECODE BtoA

From B to A format.

ATK FOA DECODE PSYCHO SHELF

The decoder presented here is an example of a dual-band ( 'dual' ) psychoacoustically optmisied,
near-field compensated decoder described by Gerzon.This sort of decoder is considered the ideal for
first order Ambisonics, meeting all the criteria outlined by Gerzon to qualify as Ambisonic, and is
the choice for critical studio listening.
Additionally, this decode is rendered as a 'narrow quadraphonic' layout, with loudspeaker angles at [
30.0, 150.0, -150.0, -30.0 ]. For studio based work, this can be convenient, as the front pair is at the
correct angle for two channel stereo monitoring. The narrow layout gives increased localisation and
stabilised images at front and back, at the expense of reduced stability at the sides.
TRANSFORMERS

ATK FOA TRANSFORM DIRECT

Adjusts the sound-field directivity across a plane specified by the user.
ATK FOA TRANSFORM DIRECT O
Adjusts the directivity of an FOA soundfield across the origin, functioning as a spatial low-
pass filter; with an increasing degree of transformation, the soundfield becomes less
directional, eventually becoming omnipresent.
ATK FOA TRANSFORM FOCUS-PRESS-PUSH ZOOM
Unified interface to four different spatial transforms. Focus and Zoom are dominance related
transforms and can be described as ‘emphasising’ elements in the direction of interest. Press
and Push differs, and rather than emphasising elements in a target direction, all are ‘pressed’
or ‘pushed’ towards the direction of interest. With increasing spatial transform all four
transforms collapse the soundfield to a planewave arriving from the direction of interest
specified by azimuth and elevation.
ATK FOA TRANSFORM DOMINATE
Increases the gain of elements in the direction of interest while decreasing gain of elements in
the opposite direction.
ATK FOA TRANSFORM MIRROR
Mirrors the soundfield across an arbitrary plane.
ATK FOA TRANSFORM MIRROR O
Mirrors the soundfield through the origin.
ATK FOA TRANSFORM ROTATE TILT TUMBLE
Multi-axes FOA rotations.

ATK FOA TRANSFORM NEAR FIELD

Proximity: Introduces the proximity effect to encoded signals.
Nearfield: Reduction or removal of the proximity effect from encoded signals.