ARCH1372 - Spatial Sound Modeling :: First Class Notes

SIAL ::

Major Assessable Work Development Notes

Working Title: 'AXES' ? Axis

Recorded composition could be adapted to audience/gesture driven realtime piece (kinect) 

Offset clusters through sonic cues / 'tilting'

Reinforce clusters through sonic cues / 'tilting'

Resistance / Attractant 

** Sheppards Tone? Risset?? ***

Key question: Is this ambisonics? 

Use of Abstracted sound choices/Non real space? Non representational sonic space = Is this Ambisonics? 

** Key distinction: Using space to understand sound, not using sound to understand space. **

Main assessment: Preparation

Readings

Idea Dev: 16 as a concept, mathmatic significance http://en.wikipedia.org/wiki/16_%28number%29

_Pairings_ as a key concept for composition

Ambisonics Research, 

Gestural? Improv?
Raytracing? : http://en.wikipedia.org/wiki/Ray_tracing_%28graphics%29

** Gestalt Driven Design** Unified experience, not subjective. Intentional, for greatest impact. The space _is_ the piece.

** Contextually reduced sonic space  (No recordings)

** Physicality driven / Objective experience intended **

** __Implied__ circular space.**

Donald Schon - "The designer designs not only with the mind but with the body and senses."

The Reflective Practitioner

Educating the Reflective Practitioner

Depth? (Frequency drop/rise) - Spatial Relationships through Frequency VERTICAL AXIS SPATIALITY

Spatial Relationships through Call & Response [Vocal/Voice Pairings]

Spatial Relationships through Mathmatical Geometry/Symbology [RESEARCH]

Spatial Relationships through Panning (Combined with Freq for "Tilting")

Spatial Relationships through Time & Distance

Transient Experiment: 

Fire 100% dry transient through one side of a pair // fire 100% wet reverb/other fx through other pairing

Cross pairing (Firing both at each other simultaneously)

Spatial Relationships through Listener Placement [Static vs. Dynamic]

Spatial Orientation? Should ambisonic/spatial composition consider/maintain traditional notions of basic L+R orientation?

Compositional/Temporal Orientation: Should ambisonic/spatial composition consider/maintain traditional notions of basic L to R temporal orientation?

[Establishment of Spatial Language]

https://sites.google.com/a/rmit.edu.au/ambisonic-and-spatial-sound-modeling/

Example Performance: '40 Part Motet'

Binaural recording: http://www.amazon.com/Roland-CS-10EM-Binaural-Microphone-Earphones/dp/B003QGPCTE