Post on 21-Mar-2016
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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
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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:
• Forward projecting stereo “PA” style systems.”
• Outside-In, multi-channel, “Surround” configurations.
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).
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.
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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.”
the “critter”12 discreet channels
individually enclosed drivers
Designed by Dan and Lawrence Trueman (1999)
“Bubba” (Bahn)A 23” 12-channel spherical speaker array
based on the “critter” design (2000)
Second Generation Spherical Speakers
24 spherical enclosures fabricated byU.S. Enclosures Inc. (2000-2001)
Second Generation Applications:
• Performance Arrays
• Sensor/Speaker Arrays
• Sound Installations
Bahn 2nd generation set-up
“The r!g” (2001)
Trueman 2nd generation set-ups
Solo (2001)
Trueman 2nd generation set-ups
Electro-Acoustic mixed ensembles: Trollstilt, Machine Language
“Trollstilt”Dan Trueman &Monica MuganColgate Chapel2002
“interface” on stage at OSU Interactive Performance Series 2001
BoSSA (1998-present) Bowed-Sensor-Speaker-Array
A sensor/speaker array, SenSA
Cook’s DigitalDoo: a sensor didgeridoo(2000)
Cook’s DigitalDoo: modified spherical speaker
““Pikapika”Pikapika” a Sensor/ Speaker Performer - Tomie Hahn and Curtis Bahn (2000)
The “SSpeaPer” Interface
PariSphere 1Interactive sound installation, Cook (2000)
Multi-channel speaker array forTelephonic Displacements (2001)
Interactive sound installation, Moore, Engel, Place
Cumulosonus 12 channel/ 48 speaker array, Moore (2001)
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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. •
Third Generation Spherical Speakers
Design and fabrication
Jigs created for accuratemass production
Third Generation Spherical Speakers
Sealing the hemispheres
Preparation for painting
Third Generation Spherical Speakers
Third Generation Spherical Speakers
Third Generation Spherical Speakers
Third Generation Spherical Speakers
Installing Polk Audio coaxial drivers.
Initial Tests
First configuration:16 channel 4x4 grid
Initial Tests
All speakers underwent a rigorous evaluation process…
• 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.
Spatialization Software
Software Interface
high resolution sensor data sensor matrix
Third Generation Applications:
• Sound Installations
• Large-scale Performance Arrays
• Sensor/Speaker Arrays
The Swamp (2002)Stephan Moore
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The Maze (2003)Stephan Moore
Physical interface to sound spatialization.
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Low Ceiling (2003)Stephan Moore
instrumentalists
Speaker Grid Over Audience
Quad system under seats and behind screens
Multi-screen video display“interface”Speaker Installation4/23
•36 channels•34 enclosures•186 drivers
Behind the scenes….
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Transfizzle (2003) Rensselaer students
Super BoSSA Nova (2003) - Trueman
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Sonic Mask (2003 - prototype)
Interactive sonic character integratingsonic display and wireless sensor/audio dataCurtis Bahn/ Tomie Hahn
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Sonic Mask, work in progress - Hahn, Bahn and Trueman 4/23/03
Interface (4/23/03)
Thanks to the Integrated Electronic Arts ProgramRensselaer Polytechnic institute - iEAR Studios.Polk Audio, Inc.
Partners in crime:
David Lublin, Jonathan Marcus - Undergraduate Research Assistants
Dan Trueman, Perry Cook, Tomie Hahn
Curtis Bahn crb@rpi.eduhttp://www.arts.rpi.edu/crb
Stephan Moore stephan@oddnoise.comhttp://www.oddnoise.com/
For more information on “the cult of the spherical speakers”(including purchase):http://www.oddnoise.com/spheres.html
Curtis Bahn, Stephan MooreIntegrated Electronic Arts at Rensselaer (iEAR) Studios
Rensselaer Polytechnic Institute
Inside-in: alternative paradigms for sound spatialization
QuickTime™ and aCinepak decompressor
are needed to see this picture.