I reckon someone mentioned Stockhausen here but my enquiry is not related to a piece by him but rather to his british homologous, ie. one of the electronic music pioneers in England: Roberto Gerhard. Unfortunately there is not much documentation available relating to this work, as the piece was never performed. G
On 18.04.2012, at 14:38, Dave Malham wrote: > One thing that just occurred to me, given the fact that this is > related to a piece of Stockhausen's, is, maybe it's worth looking at > Stockhausen's writings in the original German from around this period > - could be just a (slightly strange) translation of something he > wrote... > > Dave > > On 18 April 2012 12:31, Gregorio Garcia Karman <ggkar...@musicologia.com> > wrote: >> Hi David, Peter, >> >> David, I agree with your description of the problem, thanks for putting it >> in nice words. >> >> I also agree with Peter Lennox about the focused sound quality at one end >> and the room-filling sensation at the other. It should be possible to >> perform a continuos transition between both sensations with a single >> potentiometer. The timbre of the signal is recognizable (voice, etc.) and >> therefore should remain unchanged throughout this process. >> >> However I still have the feeling that the point / plenum name must have >> originated somewhere. From what I've read, during the period in which the >> piece was written (1966) stereophonic reproduction was becoming popular in >> the BBC and this person was definitely involved in some experiments with >> stereophony, probably at the Radiophonic Workshop, so I was hoping to find a >> piece of equipment with a point/plenum knob on it, or at least a reference >> to the use of those terms to describe the sensation of focused vs. >> wide-spread sound in those early days and how they didi it. >> >> Thanks again and best regards >> >> Gregorio Garcia Karman >> ggkar...@musicologia.com >> >> >> >> On 18.04.2012, at 10:41, Peter Lennox wrote: >> >>> actually, to control "image size" (apparent source width), one must control >>> the interaural cross correlation rather finely, which in practice means >>> controlling (or varying) inter-channel cross correlation (though with >>> surround sound - ambisonic or otherwise, one actually has to control more >>> speakers to govern the ear signals). >>> >>> So, to go from an image as a point, to a more general, room-filling >>> non-image sound, there is a variety of considerations and treatments. To >>> enlarge an image, careful decorrelation of pairs (or more, see above) of >>> signal feeds (to treat individual images, we are talking about this being >>> on the encoding, not decoding end; in old fashioned terms, on the input >>> side of the desk, not speaker feeds). This can be done with slight >>> pitchshifts, taking harmonic slices and panning them, tiny delays, or a >>> combination. >>> >>> Going from an enlarged image to a property of being everywhere really isnt >>> a case of simply routing it to all available speakers - multichannel mono >>> simply (because of precedence effects for off-centre listeners) pulls the >>> perception to the nearest speaker. So the same principles of decorrelation >>> as for image widening (and note - apparent source width can actually refer >>> to up-down as well as lateral) should be used across the array. That way, >>> you'd have a sense of the sound being everywhere, and nowhere in particular >>> - which is what I think was the original intention >>> cheers >>> ppl >>> Dr Peter Lennox >>> >>> School of Technology, >>> Faculty of Arts, Design and Technology >>> University of Derby, UK >>> e: p.len...@derby.ac.uk >>> t: 01332 593155 >>> ________________________________________ >>> From: sursound-boun...@music.vt.edu [sursound-boun...@music.vt.edu] On >>> Behalf Of David Pickett [d...@fugato.com] >>> Sent: 17 April 2012 23:27 >>> To: Surround Sound discussion group >>> Subject: Re: [Sursound] audio point / audio plenum >>> >>> At 15:26 17/04/2012, Gregorio Garcia Karman wrote: >>>> Thanks for the inquisitive responses. The text was written in 1966 and >>>> belongs to a composer from the circles of the BBC. It reads: >>>> >>>> "[one person] controls the volume of the total output of the platform >>>> speakers, as well as the stereophonic motion of the sound to and from >>>> between the loudpseakers, and the spread or growth of the sound from >>>> audio-point to audio- plenum" >>>> >>>> For me it seems as if he would be describing some kind of >>>> potentiometer by means of which the user can control the spread of >>>> sound among the stereophonic image. >>> >>> From this description, it appears to me as though the person can >>> control a mono signal in these ways: >>> >>> a) To pan between any two of the n loudspeakers. >>> >>> b) To increase the number of speakers carrying the signal from only >>> one (audio-point) to all of them (audio-plenum). >>> >>> Without knowing exactly how the platform speakers are disposed it is >>> impossible to say more. >>> >>> David >>> >>> _______________________________________________ >>> Sursound mailing list >>> Sursound@music.vt.edu >>> https://mail.music.vt.edu/mailman/listinfo/sursound >>> >>> _____________________________________________________________________ >>> The University of Derby has a published policy regarding email and reserves >>> the right to monitor email traffic. If you believe this email was sent to >>> you in error, please notify the sender and delete this email. Please direct >>> any concerns to info...@derby.ac.uk. >>> _______________________________________________ >>> Sursound mailing list >>> Sursound@music.vt.edu >>> https://mail.music.vt.edu/mailman/listinfo/sursound >> >> _______________________________________________ >> Sursound mailing list >> Sursound@music.vt.edu >> https://mail.music.vt.edu/mailman/listinfo/sursound > > > > -- > > These are my own views and may or may not be shared by my employer > > Dave Malham > Music Research Centre > Department of Music > The University of York > Heslington > York YO10 5DD > UK > Phone 01904 322448 > Fax 01904 322450 > 'Ambisonics - Component Imaging for Audio' > _______________________________________________ > Sursound mailing list > Sursound@music.vt.edu > https://mail.music.vt.edu/mailman/listinfo/sursound _______________________________________________ Sursound mailing list Sursound@music.vt.edu https://mail.music.vt.edu/mailman/listinfo/sursound
