Translation between surround formats: A case study in the piece Voyage Foog Phat Moog No1. Sounds in Space 2018

Simon Hall

    Research output: Contribution to conferencePaper


    Since its first inception in the late 1940s, there has been a history that goes right back to Pierre Schaeffer to use more than 2 speakers for dissemination of electronic or acousmatic music into a public performance space. Various composers through the 50s to the 90s, from Schaeffer and Stockhausen to Trevor Wishart and Jonathan Harvey experimented with master tape channel counts beyond just 2. As Otondo?s, and others? work supports, multichannel is now a pervasive standard for composition, and almost every size of performance loudspeaker system is able to facilitate commercial and non-commercial speaker orientations. Marije Baalman, in her Organised Sound article of 2010 states, ?spatial composition may lose integrity when transferred to another audio technology?. This becomes a genuine issue as we move to a point in time where audio in consumer and professional, domestic and performance environments, has moved significantly beyond the requirement of traditional 2-channel stereo. Translation then becomes a significant issue: how can one maintain a sense of the intended composed spatialisation, when moving between different types of playback system or destination format. This became a consideration for my piece Voyage Foog Phat Moog. A number of ambisonic-based solutions were explored, notably FaceBook 360 and the Blue Ripple plug in suite, which became a preferred solution to the issues, with improved localisation and translation across loudspeaker and binaural headphone configurations.
    Original languageEnglish
    Publication statusPublished (VoR) - 16 Apr 2018


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