This paper presents a spectral-like reformulation of two-dimensional ambisonics, enabling an alternative representation of the sound field in terms of amplitudes and phases. We situate this work within electroacoustic music
creation, framing spatial audio as a synthesis problem. The amplitude-phase approach we propose allows for continuous manipulation and distortion of the sound field, starting from the ambisonic encoder. We hypothesise that it simplifies the representation, understanding, and creative manipulation of 2D ambisonics, thereby extending its use beyond encoded directional point sources.
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