Sun, 01 May 2011 20:17:32 +0100, Richard Dobson <[email protected]> wrote :
> On 01/05/2011 17:25, Marc Lavallée wrote: > > > > I have a naive question for experts: would it be possible to > > recreate the acoustics of the Philips Pavillon using room > > simulation techniques and ambisonics spatialization? > > > > > That is what they/we did for the "Virtual Electronic Poem" Project: > > http://www.edu.vrmmp.it/vep Wow! :-) > Sadly I never got to hear the final result. My contribution was > strictly compositional (composing the "sound routes" in the almost > complete absence of original data - the original 30-channel > perforated control tape which controlled both the sound movements and > the visual elements exists physically but is unplayable). Sadly, electronic art is very ephemeral... I hope you will hear the final result one day. I also hope that the VEP will come back to North America; I can see it was showed in New-York last year at The Drawing Center during the Xenakis exhibit: http://www.fonurgia.unito.it/wp/?tag=poeme-electronique The same exhibit came to Montreal for the whole summer, and I went many times, but the VEP was not part of it. :-( > The acoustic reconstruction was handled by the Berlin team. The > project is described in CMJ 33 Vol 2, andd presetned at ICMC 2005; I > don't know offhand if the CMJ paper is downloadable externally > anywhere. You mean CMJ Volume 33, Issue 2: http://www.mitpressjournals.org/toc/comj/33/2 The article is downloadable (for a fee). > As is the way of such things, it is rare indeed to get any funding > etc for follow-up work, so the reconstruction software is probably > stowed away somewhere obscure, never to see the light of day again. > You would need to contact members of the team to see if any sort of > access is possible. We always hoped to be able to create a publicly > usable model of the space that could be used e.g. in Csound, so > composers could explore their music as it might sound in that space. When it will be forgotten and all the technology supporting it will be obsolete, then a reconstruction of the reconstruction will be needed... This is the kind of work that should go public domain now. > For the acoustic modelling they created a huge amount (GB-worth) of > hrtf impulse responses for every speaker (350 of them), for a > particular central listener position. These were cross-faded > according to the head-tracked motions of the listener. The modelling > was pretty comprehensive, even taking into account the properties of > the interior surfaces. Resolution was 1deg horizontal and 5deg > vertical. Using 350 IRs is probably not that crazy compared to the original Poème. > The binaural rendering was programmed in SuperCollider, and the > newly published SuperCollider Book (MIT Press) includes a chapter on > this aspect. > > Richard Dobson This is very interesting. Thanks for sharing the info. (I should read the CMJ and visit The Wire web site more often...) -- Marc _______________________________________________ Sursound mailing list [email protected] https://mail.music.vt.edu/mailman/listinfo/sursound
