Curtis Bahn, Stephan Moore Integrated Electronic Arts at Rensselaer (iEAR) Studios Rensselaer Polytechnic Institute Nashville, Session 2pAAb s of Synthesis and Processing to “Acoustical” music. in: alternative paradigms for sound spatialization QuickTime™ and a Cinepak decompressor are needed to see this picture.
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Curtis Bahn, Stephan Moore Integrated Electronic Arts at Rensselaer (iEAR) Studios Rensselaer Polytechnic Institute 4/29/03 ASA Nashville, Session 2pAAb.
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Curtis Bahn, Stephan MooreIntegrated Electronic Arts at Rensselaer (iEAR) Studios
Rensselaer Polytechnic Institute
4/29/03 ASA Nashville, Session 2pAAb
Relationships of Synthesis and Processing to “Acoustical” music.
Inside-in: alternative paradigms for sound spatialization
QuickTime™ and aCinepak decompressor
are needed to see this picture.
Inside-in:
•Review the use of spherical speaker arrays and sensor-speaker arrays (SenSAs) in performance and installation.
Inside-in:
•Review the use of spherical speaker arrays and sensor-speaker arrays (SenSAs) in performance and installation.
•Detail our recent development of “third generation” spherical speaker arrays.
Inside-in:
•Review the use of spherical speaker arrays and sensor-speaker arrays (SenSAs) in performance and installation.
•Detail our recent development of “third generation” spherical speaker arrays.
•Present recent work with spherical speaker arrays and SenSAs.
This work builds upon:
“Alternative Voices for Electronic Sound”1st-2nd generation speaker designs and applications.Trueman, Bahn, Cook - ASA 2000
“Physicality and Feedback”Aesthetic and technical considerations in sensor/speaker applications for performance. Bahn, Hahn, Trueman - ASA 2001
Conventional Systems:• Surround the audience in order to provide an “immersive”
sonic experience.
• Disassociate the acoustic source of sound production and the electronic image creating a “plane of separation” between acoustic and electronic sources, and between electronic sounds and the audience.
• Acoustic sources are absorbed into electronic sound-space, usually via subtle addition of artificial reverberation (sound reinforcement).
Spherical Speaker Arrays and “SenSAs:” Background
Spherical Systems:
• “Inside-Out,” single point source instrument-like sonic radiation.
• Engage natural acoustic qualities of performance spaces. Electronic sources are absorbed into the acoustic sound-space.
• No ideal listening location
or, “sweet spot.”
Spherical Speaker Arrays and “SenSAs:” Background
Spherical Systems:• Very successful with small chamber music ensembles and in
small spaces.
• Often successful with larger ensembles, in large spaces, and in combination with traditional sound-reinforcement systems.
• Natural localization and sound segregation of sources.
• No “plane-of-separation” between electronic and
acoustic sources.
Spherical Speaker Arrays and “SenSAs:” Background
Spherical Speaker Arrays and “SenSAs:” Background
Sensor/Speaker Arrays or “SenSAs.”
• Integration of sensing technologies, concepts of Human/Computer Interface (HCI) design, and sonic display.
• New electronic instruments with acoustical properties enhance the presence and intimacy of electro-acoustic music performance.
QuickTime™ and a decompressor
are needed to see this picture.
Spherical speakers have long been applied in the study of
• The acoustic qualities of performance spaces:
Hidaka and Beranek, 1991
Spherical Speaker Arrays
Spherical speakers have long been applied in the study of
• The acoustic qualities of performance spaces:
Hidaka and Beranek, 1991
• The acoustic qualities of instruments:
Causse, et al., 1992
Roads, 1996
Wessel, 1991
Spherical Speaker Arrays
Multi-channel microphone array
Software interface to manipulate and apply impulse response analyses
The “Nbody Project” Cook and Trueman - 1998Study of the directional radiative qualities of acoustic instruments
Early Spherical Speakers by Cook and Trueman for “Nbody”
The Bomb
The Boulder
Trueman’s first sphere,“R2” (1998)
Provided “presence and intimacy” in electro-acoustic performance and changed the approach to sonic display in our group, “interface.”