While recording in Ambisonics has its benefits, using the open source audio production tools Envelop for Live allows one to create immersive sound in alternative ways.
Ambisonics audio, by nature, is a multichannel format. While Ableton, as of yet, is only equipped to use mono or stereo tracks, ambisonic files must be converted to an appropriate format before use, which can result in some loss of depth within the spatial image of the recording.
The Envelop for Live (E4L) devices allow us to extend the capabilities of Ableton, with the use of max for live, in order to create ambisonic audio within the DAW itself by working backwards. Instead of converting ambisonic files into usable stereo files for example, E4L’S devices allow us to convert these stereo files into ambisonic files.
Using the Source Panner Device, we are able to encode the audio source. It does this by positioning it in a 3 dimensional space, turning into an ambisonic signal, essentially working as a 3 dimensional panning device. Using a series of sends and returns we are then able to use the Master-buss device to decode the encoded audio, which is required for playback within Ableton.
Comparing this to the free Max for Live device, Surround Panner, that uses an XY control, similar to that of E4L’s Source Panner, to place audio anywhere in the surround field, I was confused as to what the difference was between the two, and what benefits the lengthier process required by E4L’s plugins to create a Surround Panner brought. Upon further research I have now realised that Ableton’s surround panner only allows one to create movement within a two-dimensional space as opposed to 3-dimensional that is enabled by the conversion to ambisonic with E4L’s plugins, giving way more depth the audio I have been working with.