Dear all, a long time reader chiming in for the first time…
I work at the Orpheus Institute in Ghent, Belgium dealing with the
aesthetic/artistic aspects in Computer music practice. This is to say, that I
leave the technical research for my self and share/expose the
artistic/aesthetic concerns/considerations with my colleagues, who are not (at
all!) dealing with music technology issues. One of my current fascinations is
to expose and present the (illusion of) the transformation of the physical
space over time as a musical quality that is, if not unique, quite relevant in
electroacoustic music. Furthermore, I am working in a series of projects
(controller design, compositions) aimed to bring that quality to the foreground
by means of concert performance. My personal experience as computer music
performer and multichannel arrays has so far been limited to real-time sound
diffusion of fixed media (with and without traditional live instruments in the
nix) and spatialisation of DSP chains over a fixed array (normally quad), like
in Luigi Nono's "A Pierre". Now I am looking to complete a piece for 8
instruments, each one of them generating two 'ghosts', so a 24-piece
'ensemble', so to speak. At this point I would like to kindly ask you your
opinion on different real-time spatialisation systems to generate movement
illusions (height, distance) to add to the straight forward discrete sound
panning into the spatialisation control. The catch? The speaker system that I
have access to is an 8.1 setup, since I am hoping to be able to perform and
record this piece without having to compromise too much in the venue-to-venue
or media transfer.
Thanks for your time, and thanks for the years of good reading!
Juan Parra Cancino
Electronic Music Researcher
Orpheus Institute,Ghent, BE
www.orpheusinstituut.be
> From: tremb...@gmail.com
> Date: Thu, 13 Dec 2012 11:51:12 +0000
> To: sursound@music.vt.edu
> Subject: Re: [Sursound] Proximity illusions - WFS vs HOA
>
> > The problem is that the presence of a source that is clearly tied to a
> > physical speaker rather spoils one of the main advantages of field
> > reconstruction technologies like Ambisonics and WFS, namely that
> > individual speakers disappear, i.e. are not perceived as separate
> > sources.
>
> Yes and that is what I do in my multichannel compositions... a real L-C-R on
> stage plus the diffused field on other streams that can be recoded
> independently (in 5.1 on the album but the more the merrier!)
>
>
> > ultrasonic interference
>
> Those I've heard have a sound quality that makes them unusable in musical
> context...
>
> > Reasonably fast moving
> > sources, at least in reasonable dry acoustics, can be made to seem to
> > "fly past" close to the listener, if both early reflections and
> > proximity effect are properly simulated, even on low order systems.
>
> Yes, but flying by is the 'demo' sound I heard in too many bad multichannel
> compositions... I am interested in space orchestration...
>
> Jörn demo'd here (Huddersfield's SPIRAL) a very interesting sturdy image that
> was scaling down elegantly, and I have since then been tempted to find a
> solution to use HOA for the 'chorus' and keep real points as protagonists...
> makes my work harder and the portability is less than ideal...
>
> so my question was more in the light of new Dolby standards and all, how we
> could have a format that allows both... let's say a minimum of LCR + quad for
> 1st order approx of the chorus?
>
>
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