This workshop is geared towards musicians, composers, researchers, sound artists, and programmers who would like to gain a greater understanding of modern spatial audio techniques – stereo, 5.1, N.1), binaural/transaural, VBAP, Ambisonics, and Wave Field Synthesis. The workshop will take place in the Arup Soundlab™, a dedicated 2nd-order ambisonics listening chamber.
Immersive Audio Environments for Composition and Simulation
Terence Caulkins
Date: Sun, Oct 23, noon to 6pm
Date: Sun, Oct 23, noon to 6pm
This one day workshop will explore techniques for creating immersive 3D audio environments for composition and acoustic simulation. A survey of state of the art spatialization techniques will be provided, covering traditional panning based techniques (stereo, 5.1, N.1), binaural/transaural, VBAP, Ambisonics, and Wave Field Synthesis. Methods for creating interactive spatial audio environments will be discussed. The workshop will take place in the Arup Soundlab™, a dedicated 2nd-order ambisonics listening chamber.
Participants will be exposed to the basic concepts governing human perception of spatial sound and invited to participate in hands-on exercises around spatial audio scene design.This workshop is geared towards musicians, composers, researchers, sound artists, and programmers who would like to gain a greater understanding of modern spatial audio techniques. Previous experience with Max/MSP, PD and/or similar DSP software is recommended but not indispensable.
Course Topics:
• Concepts of spatial hearing
• Overview of spatialization techniques
• Open source software platforms for spatial audio
• Methods for audio recording and synthesis
• Basics of reverberation and convolution using the IRCAM Spat~
• Ambisonics
• Examples of spatial composition
• Prediction & simulation of sonic environments
• Experimentation in the Arup Soundlab™
• Gestural/touch-based control of sonic space using iDevices
• Higher Order Ambisonics and Wave Field Synthesis
• Concepts of spatial hearing
• Overview of spatialization techniques
• Open source software platforms for spatial audio
• Methods for audio recording and synthesis
• Basics of reverberation and convolution using the IRCAM Spat~
• Ambisonics
• Examples of spatial composition
• Prediction & simulation of sonic environments
• Experimentation in the Arup Soundlab™
• Gestural/touch-based control of sonic space using iDevices
• Higher Order Ambisonics and Wave Field Synthesis
Bio
Terence Caulkins is an acoustics researcher, designer, and sound artist based in NYC. He studied music and physics in Paris, where he obtained his PhD from IRCAM in 2008 on the applications of large-scale multichannel sound systems to live concert music. During this period he collaborated with a number of composers and sound artists for whom he developed spatialized pieces shown at IRCAM and the Pompidou Center. His most recent work with the engineering firm Arup includes the 3D binaural spatialization of an audiobook written by Nick Cave, “The Death of Bunny Munro”, with an original soundtrack by Warren Ellis and Nick Cave (fall 2009), the design of an interactive surround sound piece within SO-IL’s “Pole Dance” installation featured at MoMA PS1 (summer 2010), and a 3D headphone mix of the Spring for Music festival at Carnegie hall broadcast live on WQXR in 2011.