Specialising and Exhibiting

Week2-Sound for Spatialisation

small pick up microphone

Short gun microphone (phantom power sticking in to the h5)

Mix pre6 

Mix pre10

pencil microphone（inside）

Noimenn PF？for voice

C114（picking out different shapes）

10-25 silver microphone scientific 

csm50 two guns

hydrophones

ambisinoic microphones-objected based sound （noise11musician）

binaural ears lazy options 

pierry henry metallic ring

5.1 surround sound (“five-point one”) is the common name for surround sound audio systems. 5.1 is the most commonly used layout in home theatres.It uses five full bandwidth channels and one low-frequency effects channel (the “point one”). 5.1 is also the standard surround sound audio component of digital broadcast and music.

All 5.1 systems use the same speaker channels and configuration, having a front left and right, a center channel, two surround channels (left and right) and the low-frequency effects channel designed for a subwoofer.

7.1 surround sound is the common name for an eight-channel surround audio system commonly used in home theatre configurations. It adds two additional speakers to the more conventional six-channel (5.1) audio configuration. As with 5.1 surround sound, 7.1 surround sound positional audio uses the standard front left and right, center, and LFE (subwoofer) speaker configuration. However, whereas a 5.1 surround sound system combines both surround and rear channel effects into two channels (commonly configured in home theatre set-ups as two rear surround speakers), a 7.1 surround system splits the surround and rear channel information into four distinct channels, in which sound effects are directed to left and right surround channels, plus two rear surround channels.

In a 7.1 surround sound home theatre set-up, the surround speakers are placed to the side of the listener’s position and the rear speakers are placed behind the listener.

beast electrocustic red gallery ldn

sarc research 

tudor rainforests

	Rainforest IV (1973) David Tudor (American, 1926-1996) 1983.M.155 © 2001 Estate of David Tudor Video by Barbro Schultz Lundestam for Experiments in Art and Technology

A collaborative production by the Getty Research Institute and the California Institute of the Arts School of Music. Realized at the Walt Disney Modular Theater, May 17, 2001

Rainforest IV (1973) is an electroacoustic environment conceived by David Tudor and realized at “The Art of David Tudor” symposium by the group Composers Inside Electronics. It grew out of a 1973 workshop in Chocorua, New Hampshire, that included David Tudor, John Driscoll, Phil Edelstein, Linda Fisher, Ralph Jones, Martin Kalve, David Tudor, and Bill Viola. In this performed installation, each composer designs and constructs up to five sculptures, which function as instrumental loudspeakers under his or her control, and each independently produces sound material to display the sculptures’ resonant characteristics. The appreciation of Rainforest IV depends upon individual exploration, and the audience was invited to move freely among the sculptures. This excerpt takes the listener inside a hanging sculpture that appears to be a milk bottle, to reveal the transducer within.

Gesture&Texture–Denis Smalley studied at the University of Canterbury and Victoria University in his native New Zealand, and later at the Paris Conservatoire with Olivier Messiaen, with the Groupe de Recherches Musicales (GRM), and at the University of York. He initially composed onto tape, but as early as the 1980s realised his works using computer software. His composition Pentes (1974) is regarded as one of the classics of electroacoustic music. Source sounds for his works may come from the environment—and are often the starting point for his pieces—but he may also develop highly sophisticated timbres from scratch using computer software. He describes his approach as “spectromorphological”, featuring the development of sounds in time. His music has been performed around the world and most of his major works appear on commercially released CDs.

The formal shaping and sounding content of Valley Flow were influenced by the dramatic vistas of the Bow Valley in the Canadian Rockies. The work is founded on a basic flowing gesture. This motion is stretched to create airy, floating and flying contours or broad panoramic sweeps, and contracted to create stronger physical motions, for example the flinging out of textural materials. Spatial perspectives are important in an environmentally inspired work. The listener, gazing through the stereo window, can adopt changing vantage points; at one moment looking out to the distant horizon, at another looking down from a height, at another dwarfed by the bulk of land masses, and at yet another swamped by the magnified details of organic activity. Landscape qualities are pervasive: water, fire and wood; the gritty, granular fracturing of stoney noise-textures; and the wintery, glacial thinness of sustained lines. The force and volatility of nature are reflected in abrupt changes and turbulent textures. Valley Flow was composed at The Banff Centre for the Arts (Canada) in 1991 and was completed in the composer’s studio in Norwich (UK) in 1992. It incorporates sounds created at IRCAM in Paris (France) during a previous research period (1989) and further materials subsequently developed at Simon Fraser University in Vancouver (Canada) in 1991. Valley Flow was premiered on February 27th, 1992 in a concert broadcast live from BBC Pebble Mill Studios. This piece was commissioned by the Birmingham Electroacoustic Sound Theatre (BEAST) with funds provided by West Midlands Arts.

I was looking at Ricardo Huisman’s multi-channel piece “The sounding ring oven” in a monumental stone factory. It was mainly about hearing the random ringing and scouring sounds of backed stones, and rolling coals while we walked on the factory. The sounds coming out of the stocker pocks were moving in the direction of the fire in the oven in past days when the factory was still working 24 hours a day. The stone and rolling coal soundscapes like random repeating mantras could also be heard inside the large ring oven reflecting the round architecture of the stone factory.

It was resounding the sonic heritage of the Bosscherwaarden stone factory at the river the Lek near Wijk big Duurstede.