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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 Relationships of Synthesis and Processing to “Acoustical” music. Inside-in: alternative paradigms for sound spatialization Curtis Bahn, Stephan Moore Integrated Electronic Arts at Rensselaer (iEAR) Studios Rensselaer Polytechnic Institute Inside-in:

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Curtis Bahn, Stephan Moore Integrated Electronic Arts at Rensselaer (iEAR) Studios Rensselaer Polytechnic Institute

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  1. 4/29/03 ASA Nashville, Session 2pAAb Relationships of Synthesis and Processing to “Acoustical” music. Inside-in: alternative paradigms for sound spatialization Curtis Bahn, Stephan Moore Integrated Electronic Arts at Rensselaer (iEAR) Studios Rensselaer Polytechnic Institute

  2. Inside-in: • Review the use of spherical speaker arrays and sensor-speaker arrays (SenSAs) in performance and installation.

  3. 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.

  4. 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.

  5. 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

  6. Spherical Speaker Arrays and “SenSAs:” Background Conventional Systems: • Forward projecting stereo “PA” style systems.” • Outside-In, multi-channel, “Surround” configurations.

  7. Spherical Speaker Arrays and “SenSAs:” Background 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).

  8. 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.”

  9. 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.

  10. 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.

  11. Spherical Speaker Arrays • Spherical speakers have long been applied in the study of • The acoustic qualities of performance spaces: • Hidaka and Beranek, 1991

  12. 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

  13. The “Nbody Project” Cook and Trueman - 1998 Study of the directional radiative qualities of acoustic instruments Multi-channel microphone array Software interface to manipulate and apply impulse response analyses

  14. Early Spherical Speakers by Cook and Trueman for “Nbody” The Bomb The Boulder

  15. 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.”

  16. the “critter” 12 discreet channels individually enclosed drivers Designed by Dan and Lawrence Trueman (1999)

  17. “Bubba” (Bahn) A 23” 12-channel spherical speaker array based on the “critter” design (2000)

  18. Second Generation Spherical Speakers 24 spherical enclosures fabricated by U.S. Enclosures Inc. (2000-2001)

  19. Second Generation Applications: • Performance Arrays • Sensor/Speaker Arrays • Sound Installations

  20. Bahn 2nd generation set-up “The r!g” (2001)

  21. Trueman 2nd generation set-ups Solo (2001)

  22. Trueman 2nd generation set-ups “Trollstilt” Dan Trueman & Monica Mugan Colgate Chapel 2002 Electro-Acoustic mixed ensembles: Trollstilt, Machine Language

  23. “interface” on stage at OSU Interactive Performance Series 2001

  24. BoSSA (1998-present) Bowed-Sensor-Speaker-Array A sensor/speaker array, SenSA

  25. Cook’s DigitalDoo: a sensor didgeridoo (2000)

  26. Cook’s DigitalDoo: modified spherical speaker

  27. “Pikapika”a Sensor/ Speaker Performer - Tomie Hahn and Curtis Bahn (2000)

  28. The “SSpeaPer” Interface

  29. PariSphere 1 Interactive sound installation, Cook (2000)

  30. Multi-channel speaker array for Telephonic Displacements (2001) Interactive sound installation, Moore, Engel, Place

  31. Cumulosonus 12 channel/ 48 speaker array, Moore (2001)

  32. Third Generation Spherical Speakers (2002-2003) • Rensselaer research/development project fabricates • ~60 new speakers with a modified “critter” design. • 2 channel spherical or 1 channel • hemispherical applications. • First experiments with large scale diffusion arrays • of single point source speakers. • Speakers and approach to sound spatialization becoming • more widely used.

  33. Third Generation Spherical Speakers Design and fabrication Jigs created for accurate mass production

  34. Third Generation Spherical Speakers Preparation for painting Sealing the hemispheres

  35. Third Generation Spherical Speakers

  36. Third Generation Spherical Speakers

  37. Third Generation Spherical Speakers

  38. Third Generation Spherical Speakers Installing Polk Audio coaxial drivers.

  39. Initial Tests First configuration:16 channel 4x4 grid

  40. Initial Tests All speakers underwent a rigorous evaluation process…

  41. Spatialization Software • Custom spatialization software developed using Max/MSP/jitter by cycling74. • 4x4 matrix panning based on “equal power curve” and Gaussian functions. • Scalable sound size or “radius.” • Implementation of “Sonic Geometries,” (Oliveros) and randomized movement. • Hooks for external control of sound object placement.

  42. Software Interface high resolution sensor data sensor matrix

  43. Third Generation Applications: • Sound Installations • Large-scale Performance Arrays • Sensor/Speaker Arrays

  44. The Swamp (2002) Stephan Moore

  45. Physical interface to sound spatialization. The Maze (2003) Stephan Moore

  46. Low Ceiling (2003) Stephan Moore

  47. Multi-screen video display • “interface” • Speaker • Installation • 4/23 • 36 channels • 34 enclosures • 186 drivers instrumentalists Speaker Grid Over Audience Quad system under seats and behind screens

  48. Behind the scenes….

  49. Transfizzle (2003) Rensselaer students

  50. Super BoSSA Nova (2003) - Trueman

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