On Sun, April 1, 2012 5:20 am, Paul Hodges wrote: > Sure; but what proportion of music are we happy to be unable to reproduce > properly? My organ music (admittedly as much as 20% of my listening) was a > trivial example - and it's only in combination with other things that it > becomes spatially interesting, generally. You mentioned Gabrieli and > Berlioz in a slightly dismissive manner; I would add to them people like > Stockhausen and Earle Brown, a folk group moving among their audience, a > hall full of schoolchildren bouncing their sounds off each other from > different parts of the hall. Not all within the restricted form of > "concert music", but music in the real world where we turn our heads and > enjoy our whole environment.
Thank you, Paul. I've been a member of this group for several years and generally skim the messages as most threads focus on face-forward listening and 3D illusions. As a composer, I have written acoustic and electroacoustic (plus 'soundwalks') that surround the listener for years (my first such piece was composed in 1972). I'd love to hear more discussion of producing convincing surround music and environments, especially effective plug-ins using multitrack electroacoustic sources in programs like Adobe Audition. The last time I asked (a few years ago) I was told such things exist but are very expensive and the topic was dropped. Dennis _______________________________________________ Sursound mailing list Sursound@music.vt.edu https://mail.music.vt.edu/mailman/listinfo/sursound
