In 2010, the author had the privilege to capture a performance of Rebecca Saunders' intricately spatial composition Chroma XII in fully periphonic third-order Ambisonics. The production grew to considerable complexity and provides an excellent showcase for a large-scale Ambisonic production using free software. This workshop discusses the artistic motivation (or even necessity) of using a with height recording method for the work at hand.
After a short description of the composition, its instrumentation and the performance space, the microphone and mixing techniques are being discussed in detail, including hardware and software toolchains, postproduction workflow, and lessons learned from subsequent replays on various systems.
This is a follow-up to a workshop presented at LAC 2010 in Utrecht.