Designing a virtual theatrical listening space (original) (raw)

Immersive technologies in the formation of musical audio space

Immersive technologies in the formation of musical audio space, 2024

Immersive audio technology is increasingly used in music, with devices like cell phones and televisions replicating formats. The increasing adoption of immersive audio technologies by both consumers and professionals in the music industry has made this topic more relevant. The purpose of the research is to analyse immersive technologies that contribute to the creation of the musical audio environment. The research employed methods: literature and historical review, technical analysis, practical cases, statistical method, and the author’s personal empirical experience. The article examines the function of audio space in relation to the perception of musical art and the characteristics of musical audio space. The proposed classification categories musical audio spaces into two distinct types: natural and artificial, as well as offline and online. The article’s statistical data illustrates the changing patterns of growth in online audio consumers and the rivalry between radio stations and streaming platforms to enhance their impact on shaping listeners’ audio spaces. The research demonstrates that streaming platforms actively encourage the incorporation of musical content in immersive formats as a means to expand their market share and evoke heightened emotional and perceptual responses in customers. The article outlines techniques used in immersive music spaces to provide a distinct aural experience for the listener. The article’s practical analysis of immersive audio technologies encompasses the examination of requisite microphones and digital audio workstations that facilitate the transition from two-dimensional audio space formation to three-dimensional. In contemporary circumstances, the distribution of musical items is progressively employing three-dimensional immersive technologies. The article enumerates audio technologies that guarantee the creation of an immersive auditory environment for both listeners and musicians: Ambisonics, KLANG: technologies, and DPA 5100. The practical significance of this work rests in examining the perceptual attributes of users of immersive technologies and exploring the potential for developing immersive technologies, such as immersive musical instruments or immersive radio stations.

Music, Space and Theatre: Site-specific approaches to multichannel spatialisation

Organised Sound, 2010

"Approaches to the multichannel spatialisation of electroacoustic music are described here with reference to musical case studies which focus upon the expressive functions of space and the theatricality of sound diffusion in an acousmatic context. A site-specific approach to spatialisation is proposed to enhance theatrical aspects of musical performance. Case studies include proposals for novel layouts of the diffusion system within the performance space and compositional techniques that are designed to re-evaluate our understanding of individual listening spaces."

Music, Space & Theatre: Site-specific approaches to multichannel spatialisation

Approaches to the multichannel spatialisation of electroacoustic music are described here with reference to musical case studies which focus upon the expressive functions of space and the theatricality of sound diffusion in an acousmatic context. A site-specific approach to spatialisation is proposed to enhance theatrical aspects of musical performance. Case studies include proposals for novel layouts of the diffusion system within the performance space and compositional techniques that are designed to re-evaluate our understanding of individual listening spaces.

Holophonic Sound in IRCAM's Concert Hall: Technological and Aesthetic Practices

Computer Music Journal, 2016

This article presents a report on technological and aesthetic practices in the variable-acoustics performance hall, Espace de Projection, at the Institut de Recherche et Coordination Acoustique/Musique. The hall is surrounded by a 350-loudspeaker array for sound-field reproduction using holophonic approaches such as wave-field synthesis and higher-order Ambisonics. First we present the design and implementation of the audio system and discuss the challenges of both hardware and software architectures. This is followed by a discussion of spatial composition techniques, aesthetic approaches, and methodologies for composing computer music for high-density loudspeaker arrays, explored through the paradigmatic examples of pieces produced by two artist-in-research residencies.

Virtual Concerts in Virtual Spaces -- in Real Time (abstract)

J Acoust Soc Amer, 1999

Virtual concerts in virtual spaces are implemented by the Digital Interactive Virtual Acoustics (DNA) research group. In this paper we introduce our Virtual Orchestra project which is an example of a realtime virtual concert experience. The Virtual Orchestra is an experimental interactive real-time virtual environment that contains synchronized sound and animation components. The system provides tools for real-time automatic character animation and visualization, dynamic behavior control of virtual actors, interaction through motion analysis. sound generation with physical models of musical instruments, and three-dimensional sound auralization. All of these research areas are shortly reviewed and future goals of the DNA research are discussed.

Networking Virtual Sound and Physical Space in Audio-Augmented Environments

2004

This paper describes strategies to create multimodal coherences between sound and space in Audio-Augmented Environments. Visitors to AAEs wear motion-tracked wireless headphones displaying a location-aware, adaptive audio presentation augmenting the physical space with virtual sound-scenes. The work underlying this paper was done by the author during the course of the LISTEN project at Fraunhofer IMK[1][2]. In the first half, the concept of the ‘perceptual device’ is introduced, which allows attaching audio content to a physical space. In the second part this i s supported by practical examples from the publicly accessible AAE “Macke Labor”. The “Macke Labor” was installed at the Kunstmuseum Bonn, opening in October 15 2003. It was developed by the author with an interdisciplinary team of collaborators. The paper is rounded off with the description of the sonification technique used in the evaluation of the recorded tracking and event data of the “Macke Labor”.

Sound installation: Blurring the boundaries of the Eye, the Ear, Space and Time

Contemporary Music Review, 2006

Sound installation interfaces musical and visual art through time and space. It is a sonic intermedia practice, which blurs the boundaries of the visual and aural and includes the spatial, the temporal and the haptic. Since 1977 I have been designing sound installations that merge the senses, offering unique experiences for the listener as participating auditor. In the discussion of several of these works the conceptual considerations in the design of cross-disciplinary works are addressed. These include the parameters derived from the disciplines of sculpture, sound, temporal composition, spatial architecture and audience interactivity. Some works merge many interdisciplinary elements such as sculptural forms, video, photography, radio and performance as well as sound, while others may appear almost invisible. The degree of musical composition and sound design features vary from work to work. Sound installations are rarely static, having many possible outcomes and many works have a high degree of immersive and interactive characteristics. As such they are difficult to document. This article will look at representative examples of my sound installations since 1977 showing diverse approaches to sound installation. It is a potent artform, which has stretched the boundaries of the disciplines of fine art and music, merging sound, time and space in new ways.

Virtual concerts in virtual spaces—in real time

Journal of The Acoustical Society of America, 1999

Summary: Virtual concerts in virtual spaces are implemented by the Digital Interactive Virtual Acoustics (DNA) research group. In this paper we introduce our Virtual Orchestra project which is an example of a real- time virtual concert experience. The Virtual Orchestra is an experimental interactive real-time virtual environ- ment that contains synchronized sound and animation components. The system provides tools for

VISUAL MUSIC: DISPLAY FORMATS. FULL-DOME PROJECTS. THE LANGUAGE OF A/V SPATIALISATION

If the medium of cinema is born of the addition of temporality to images, new trends in digital art such as architectural mapping video projection, audiovisual (A/V) performance, and new forms of immersive scenography are adding the spatial dimension to the moving image. The latest innovations in the area of digital arts are the result of an acceleration of a trend that can be historically identified through the multiple manifestations of universal expositions. Today’s digital explosion is in fact a consequence of the democratization of instruments that control light, sound, and images through increasingly sophisticated interfaces. Avant-garde artistic approaches, with their constant push toward the dematerialization of artwork, have merged with scenographic spatialization technologies. This merger of worlds has led to new A/V performance productions that reveal the emergence of a new language, namely that of audiovisual spatialization. This language leverages the creative potential of new audiovisual instruments by combining sound and light waves with the spatial component. This paper will address this new approach based on analysis of multiple case studies.