A Beamformer to Play with Wall Reflections: The Icosahedral Loudspeaker

The quote from Pierre Boulez, given as an epigraph to this article, inspired French researchers to start developing technology for spherical loudspeaker arrays in the 1990s. The hope was to retain the naturalness of sound sources. Now, a few decades later, one might be able to show that even more ca...
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Gespeichert in:

Autor*in:	Franz Zotter [verfasserIn] Markus Zaunschirm Matthias Frank Matthias Kronlachner

Format:	Artikel
Sprache:	Englisch

Erschienen:	2017

Übergeordnetes Werk:	Enthalten in: Computer music journal - Cambridge, Mass. : MIT Press, 1977, 41(2017), 3, Seite 50-68
Übergeordnetes Werk:	volume:41 ; year:2017 ; number:3 ; pages:50-68

Links:	Volltext Link aufrufen

DOI / URN:	10.1162/comj_a_00429

Katalog-ID:	OLC1996837400

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spelling	10.1162/comj_a_00429 doi PQ20171125 (DE-627)OLC1996837400 (DE-599)GBVOLC1996837400 (PRQ)m680-e5b4121e9899788c2d7ba0c4ff1fcedecc4d176066e1b3ab3562cccb2c095ad20 (KEY)0013792820170000041000300050beamformertoplaywithwallreflectionstheicosahedrall DE-627 ger DE-627 rakwb eng 780 620 DNB Franz Zotter verfasserin aut A Beamformer to Play with Wall Reflections: The Icosahedral Loudspeaker 2017 Text txt rdacontent ohne Hilfsmittel zu benutzen n rdamedia Band nc rdacarrier The quote from Pierre Boulez, given as an epigraph to this article, inspired French researchers to start developing technology for spherical loudspeaker arrays in the 1990s. The hope was to retain the naturalness of sound sources. Now, a few decades later, one might be able to show that even more can be done: In electroacoustic music, using the icosahedral loudspeaker array called IKO seems to enable spatial gestures that enrich alien sounds with a tangible acoustic naturalness. After a brief discussion of directivity-based composition in computer music, the first part of the article describes the technical background of the IKO, its usage in a digital audio workstation, and psychoacoustic evidence regarding the auditory objects the IKO produces. The second part deals with acoustic equations of spherical beamforming, how the IKO's loudspeakers are controlled correspondingly, how we deal with excursion limits, and the resulting beam patterns generated by the IKO. Markus Zaunschirm oth Matthias Frank oth Matthias Kronlachner oth Enthalten in Computer music journal Cambridge, Mass. : MIT Press, 1977 41(2017), 3, Seite 50-68 (DE-627)129859362 (DE-600)282527-2 (DE-576)01516702X 0148-9267 nnns volume:41 year:2017 number:3 pages:50-68 http://dx.doi.org/10.1162/comj_a_00429 Volltext http://www.mitpressjournals.org/doi/abs/10.1162/comj_a_00429 GBV_USEFLAG_A SYSFLAG_A GBV_OLC SSG-OLC-TEC SSG-OLC-MAT SSG-OLC-MUS GBV_ILN_11 GBV_ILN_21 GBV_ILN_22 GBV_ILN_70 GBV_ILN_90 GBV_ILN_98 GBV_ILN_127 GBV_ILN_130 GBV_ILN_241 GBV_ILN_2008 GBV_ILN_2070 GBV_ILN_2098 GBV_ILN_2109 GBV_ILN_2400 GBV_ILN_4012 GBV_ILN_4327 AR 41 2017 3 50-68
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allfieldsSound	10.1162/comj_a_00429 doi PQ20171125 (DE-627)OLC1996837400 (DE-599)GBVOLC1996837400 (PRQ)m680-e5b4121e9899788c2d7ba0c4ff1fcedecc4d176066e1b3ab3562cccb2c095ad20 (KEY)0013792820170000041000300050beamformertoplaywithwallreflectionstheicosahedrall DE-627 ger DE-627 rakwb eng 780 620 DNB Franz Zotter verfasserin aut A Beamformer to Play with Wall Reflections: The Icosahedral Loudspeaker 2017 Text txt rdacontent ohne Hilfsmittel zu benutzen n rdamedia Band nc rdacarrier The quote from Pierre Boulez, given as an epigraph to this article, inspired French researchers to start developing technology for spherical loudspeaker arrays in the 1990s. The hope was to retain the naturalness of sound sources. Now, a few decades later, one might be able to show that even more can be done: In electroacoustic music, using the icosahedral loudspeaker array called IKO seems to enable spatial gestures that enrich alien sounds with a tangible acoustic naturalness. After a brief discussion of directivity-based composition in computer music, the first part of the article describes the technical background of the IKO, its usage in a digital audio workstation, and psychoacoustic evidence regarding the auditory objects the IKO produces. The second part deals with acoustic equations of spherical beamforming, how the IKO's loudspeakers are controlled correspondingly, how we deal with excursion limits, and the resulting beam patterns generated by the IKO. Markus Zaunschirm oth Matthias Frank oth Matthias Kronlachner oth Enthalten in Computer music journal Cambridge, Mass. : MIT Press, 1977 41(2017), 3, Seite 50-68 (DE-627)129859362 (DE-600)282527-2 (DE-576)01516702X 0148-9267 nnns volume:41 year:2017 number:3 pages:50-68 http://dx.doi.org/10.1162/comj_a_00429 Volltext http://www.mitpressjournals.org/doi/abs/10.1162/comj_a_00429 GBV_USEFLAG_A SYSFLAG_A GBV_OLC SSG-OLC-TEC SSG-OLC-MAT SSG-OLC-MUS GBV_ILN_11 GBV_ILN_21 GBV_ILN_22 GBV_ILN_70 GBV_ILN_90 GBV_ILN_98 GBV_ILN_127 GBV_ILN_130 GBV_ILN_241 GBV_ILN_2008 GBV_ILN_2070 GBV_ILN_2098 GBV_ILN_2109 GBV_ILN_2400 GBV_ILN_4012 GBV_ILN_4327 AR 41 2017 3 50-68
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title	A Beamformer to Play with Wall Reflections: The Icosahedral Loudspeaker
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title_full	A Beamformer to Play with Wall Reflections: The Icosahedral Loudspeaker
author_sort	Franz Zotter
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title_sort	beamformer to play with wall reflections: the icosahedral loudspeaker
title_auth	A Beamformer to Play with Wall Reflections: The Icosahedral Loudspeaker
abstract	The quote from Pierre Boulez, given as an epigraph to this article, inspired French researchers to start developing technology for spherical loudspeaker arrays in the 1990s. The hope was to retain the naturalness of sound sources. Now, a few decades later, one might be able to show that even more can be done: In electroacoustic music, using the icosahedral loudspeaker array called IKO seems to enable spatial gestures that enrich alien sounds with a tangible acoustic naturalness. After a brief discussion of directivity-based composition in computer music, the first part of the article describes the technical background of the IKO, its usage in a digital audio workstation, and psychoacoustic evidence regarding the auditory objects the IKO produces. The second part deals with acoustic equations of spherical beamforming, how the IKO's loudspeakers are controlled correspondingly, how we deal with excursion limits, and the resulting beam patterns generated by the IKO.
abstractGer	The quote from Pierre Boulez, given as an epigraph to this article, inspired French researchers to start developing technology for spherical loudspeaker arrays in the 1990s. The hope was to retain the naturalness of sound sources. Now, a few decades later, one might be able to show that even more can be done: In electroacoustic music, using the icosahedral loudspeaker array called IKO seems to enable spatial gestures that enrich alien sounds with a tangible acoustic naturalness. After a brief discussion of directivity-based composition in computer music, the first part of the article describes the technical background of the IKO, its usage in a digital audio workstation, and psychoacoustic evidence regarding the auditory objects the IKO produces. The second part deals with acoustic equations of spherical beamforming, how the IKO's loudspeakers are controlled correspondingly, how we deal with excursion limits, and the resulting beam patterns generated by the IKO.
abstract_unstemmed	The quote from Pierre Boulez, given as an epigraph to this article, inspired French researchers to start developing technology for spherical loudspeaker arrays in the 1990s. The hope was to retain the naturalness of sound sources. Now, a few decades later, one might be able to show that even more can be done: In electroacoustic music, using the icosahedral loudspeaker array called IKO seems to enable spatial gestures that enrich alien sounds with a tangible acoustic naturalness. After a brief discussion of directivity-based composition in computer music, the first part of the article describes the technical background of the IKO, its usage in a digital audio workstation, and psychoacoustic evidence regarding the auditory objects the IKO produces. The second part deals with acoustic equations of spherical beamforming, how the IKO's loudspeakers are controlled correspondingly, how we deal with excursion limits, and the resulting beam patterns generated by the IKO.
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title_short	A Beamformer to Play with Wall Reflections: The Icosahedral Loudspeaker
url	http://dx.doi.org/10.1162/comj_a_00429 http://www.mitpressjournals.org/doi/abs/10.1162/comj_a_00429
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author2	Markus Zaunschirm Matthias Frank Matthias Kronlachner
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up_date	2024-07-04T01:30:56.573Z
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