Multi-Channel Sound Design: Instruments for 360-Degree Composition
- Submitting institution
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Ravensbourne University London
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- MD03
- Type
- E - Conference contribution
- DOI
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- Title of conference / published proceedings
- Proceedings of the 12th Art of Record Production Conference Mono: Stereo: Multi
- First page
- 71
- Volume
- -
- Issue
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- ISSN
- -
- Open access status
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- Month of publication
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- Year of publication
- 2019
- URL
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http://kmh.diva-portal.org/smash/get/diva2:1320408/FULLTEXT01.pdf
- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
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- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
-
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- Research group(s)
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- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- This study developed a spatial audio instrument for multi-channel sound design, responding to industry developments by focusing on an opportunity in the increased uptake of high speaker count multi-channel audio systems such as Dolby Atmos or Ambisonics.
This research integrates the principles of Digital Musical Instrument (DMI) design into a gestural instrument. As a practice-based study, it explores the role of performance as part of the sound design process, specifically asking:
- how can gestural approaches to spatialisation be incorporated as part of a sound design-focused DMI?
- Can gestural approaches provide scope for more intuitive or expressive sound outcomes?
Focusing the development of the instruments towards professional sound designers led to a solution combining a bespoke granular synthesizer and control system. User testing concluded that the combination afforded a level of control and immediacy that provided a new and expressive way to create sound.
The instrument was developed over the course of two years. The iterative design process created a set of prototypes that tested multiple DMI configurations with varying methods of control. The Leap controller and Myo armband were used as the gestural controllers in the instrument.
The study was presented at the 12th Art of Record Production Conference in Stockholm, Sweden. The conference proceedings are peer-reviewed.
The work has also been disseminated amongst staff and students within Ravensbourne. A direct outcome that resulted from the research is an uptake of Sound Design BA(Hons) students using the instrument and choosing to work with 3D Audio.
Techniques developed in this work were developed and extended in subsequent research. Primarily, as part of the Sonic Timelapse Builder used for the research Soundscapes reveal disturbance impacts: biophonic response to wildfire in the Sonoran Desert Sky Islands and as a basis for the spatialisation approach in the installation Inhabiting the Instrument.
- Author contribution statement
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- Non-English
- No
- English abstract
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