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Curtis Bahn, Stephan Moore Integrated Electronic Arts at Rensselaer (iEAR) Studios
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Transcript of Curtis Bahn, Stephan Moore Integrated Electronic Arts at Rensselaer (iEAR) Studios
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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.
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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.
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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.
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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
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Conventional Systems:
• Forward projecting stereo “PA” style systems.”
• Outside-In, multi-channel, “Surround” configurations.
Spherical Speaker Arrays and “SenSAs:” Background
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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
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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
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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
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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
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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
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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
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Early Spherical Speakers by Cook and Trueman for “Nbody”
The Bomb
The Boulder
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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.”
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the “critter”12 discreet channels
individually enclosed drivers
Designed by Dan and Lawrence Trueman (1999)
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“Bubba” (Bahn)A 23” 12-channel spherical speaker array
based on the “critter” design (2000)
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Second Generation Spherical Speakers
24 spherical enclosures fabricated byU.S. Enclosures Inc. (2000-2001)
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Second Generation Applications:
• Performance Arrays
• Sensor/Speaker Arrays
• Sound Installations
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Bahn 2nd generation set-up
“The r!g” (2001)
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Trueman 2nd generation set-ups
Solo (2001)
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Trueman 2nd generation set-ups
Electro-Acoustic mixed ensembles: Trollstilt, Machine Language
“Trollstilt”Dan Trueman &Monica MuganColgate Chapel2002
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“interface” on stage at OSU Interactive Performance Series 2001
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BoSSA (1998-present) Bowed-Sensor-Speaker-Array
A sensor/speaker array, SenSA
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Cook’s DigitalDoo: a sensor didgeridoo(2000)
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Cook’s DigitalDoo: modified spherical speaker
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““Pikapika”Pikapika” a Sensor/ Speaker Performer - Tomie Hahn and Curtis Bahn (2000)
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The “SSpeaPer” Interface
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PariSphere 1Interactive sound installation, Cook (2000)
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Multi-channel speaker array forTelephonic Displacements (2001)
Interactive sound installation, Moore, Engel, Place
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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. •
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Third Generation Spherical Speakers
Design and fabrication
Jigs created for accuratemass production
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Third Generation Spherical Speakers
Sealing the hemispheres
Preparation for painting
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Third Generation Spherical Speakers
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Third Generation Spherical Speakers
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Third Generation Spherical Speakers
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Third Generation Spherical Speakers
Installing Polk Audio coaxial drivers.
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Initial Tests
First configuration:16 channel 4x4 grid
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Initial Tests
All speakers underwent a rigorous evaluation process…
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• 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
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Software Interface
high resolution sensor data sensor matrix
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Third Generation Applications:
• Sound Installations
• Large-scale Performance Arrays
• Sensor/Speaker Arrays
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The Swamp (2002)Stephan Moore
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The Maze (2003)Stephan Moore
Physical interface to sound spatialization.
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QuickTime™ and aCinepak decompressor
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Low Ceiling (2003)Stephan Moore
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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
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Behind the scenes….
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Transfizzle (2003) Rensselaer students
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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
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Interface (4/23/03)
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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
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Curtis Bahn [email protected]://www.arts.rpi.edu/crb
Stephan Moore [email protected]://www.oddnoise.com/
For more information on “the cult of the spherical speakers”(including purchase):http://www.oddnoise.com/spheres.html
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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.
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