1. Rensselaer Polytechnic Institute

2. SenSInstallation: Review the use of spherical speaker arrays and sensor- speaker arrays (SenSAs) in performance and installation. Detail our recent development of “third generation” spherical speaker arrays. Project the use of these new speakers as a large-scale diffusion array for sound installation and electro- acoustic performance.

3. “Alternative Voices for Electronic Sound” Trueman, Bahn, Cook - ICMC 2000, Berlin “Physicality and Feedback” Bahn, Hahn, Trueman - ICMC 2001, Havana

4. SenSInstallation Project Goals: Construct a new Sensor/Speaker “instrument:” Large-scale multi-channel spherical sound system under sensor control. Develop the system so that could support many configurations and applications. Develop general-purpose spatialization tools for the system. Realize numerous pieces ranging from sound installation to electro-acoustic mixed ensemble compositions.

5. Conventional Systems: Covered at SEAMUS 2002 by Beck: A Taxonomy of Sound Diffusion Forward projecting stereo “PA-systems” Outside-In, “Surround” configurations Spherical Speaker Arrays and “SenSAs:” Background

6. Conventional Systems: Surround the audience in order to provide an “immersive” sonic experience. Disassociate the acoustic source of sound production and the electronic image creating a “plane of separation” between acoustic and electronic sources and between electronic sounds and the audience. Acoustic sources are absorbed into electronic sound-space, usually via subtle addition of artificial reverberation (sound reinforcement) Spherical Speaker Arrays and “SenSAs:” Background

7. Spherical Systems: “Inside-Out,” instrument-like sonic radiation Engage natural acoustic qualities of performance spaces No “sweet spot” Spherical Speaker Arrays and “SenSAs:” Background

8. Spherical Systems: Electronic sources are absorbed into the acoustic sound- space Very successful with small chamber music ensembles and in small spaces. Often successful with larger ensembles, in large spaces, and in combination with traditional sound-reinforcement systems. No “plane-of-separation” between electronic and acoustic sources. Spherical Speaker Arrays and “SenSAs:” Background

9. Spherical speakers have long been applied in the study of The acoustic qualities of performance spaces: Hidaka and Beranek, 1991 The acoustic qualities of instruments: Causse, et al., 1992 Roads, 1996 Wessel, 1991 Spherical Speaker Arrays and “SenSAs:” Background L.A.R.S. speaker used in acoustic analysis of concert halls

10. Multi-channel microphone array Software interface to manipulate and apply impulse response analyses The “Nbody Project” Cook and Trueman Studies of the directional radiative qualities of acoustic instruments

11. Early Spherical Speakers for the Nbody Project The Bomb The Boulder

12. Trueman’s first “gigging” sphere “R2” (Ikea salad bowls never sounded better…)

13. the “critter” 12 discreet channels individually enclosed drivers Designed by Dan and Lawrence Trueman

14. “Bubba” (Bahn) A 23” 12-channel spherical speaker array based on the “critter” design

15. Second Generation Spherical Speakers U.S. Enclosures Inc. Fabricated Spheres

16. Applications: Performance Arrays Bahn Trueman “Interface”

17. Bahn set-up “The r!g”

18. Trueman set-ups solo

19. Trueman set-ups Electro-Acoustic mixed ensembles: Trollstilt, Machine Language “Trollstilt” Dan Trueman & Monica Mugan Colgate Chapel

20. “interface” on stage at OSU Interactive Performance Series

21. Applications: Sensor Speaker Arrays: SenSAs Trueman: BoSSA Cook: DigitalDoo Bahn/Hahn: Pikapika

22. BoSSA Bowed-Sensor-Speaker-Array

23. Cook’s DigitalDoo: a sensor didgeridoo

24. Cook’s DigitalDoo: modified spherical speaker

25. “Pikapika” “Pikapika” a Sensor/ Speaker Performer - Tomie Hahn and Curtis Bahn

26. The “SSpeaPer” Interface

27. “Strolling:” a wireless sonic performer

28. Applications: Multi-channel Arrays and SenSAs in Installation Cook: Perisphere 1 Moore, Engel, Place: Telephonic Displacements Moore: Cumulosonus

29. PariSphere 1 Cook

30. Multi-channel speaker array for Telephonic Displacements Moore, Engel, Place

31. Cumulosonus 12 channel/ 48 speaker array - Moore

32. Third Generation Spherical Speakers Due to dissatisfaction with United Enclosures Inc. fabricated spheres, new speakers returned to a modified “critter” design. Designed for 2 channel spherical or 1 channel hemispherical applications 43 single channel hemispheres produced

33. Third Generation Spherical Speakers Design and fabrication Jigs created for accurate mass production

34. Third Generation Spherical Speakers Sealing the hemispheres Preparation for painting

35. Third Generation Spherical Speakers

38. Installing Polk Audio coaxial drivers.

39. Initial Tests First configuration:16 channel 4x4 test grid

40. Initial Tests Currently undergoing rigorous evaluation process…

41. Initial Tests Surveillance dome for soft VNS head tracking

42. 4x4 matrix panning based on “equal power curve” function, later Gaussian or “S-curve.” Arbitrary room size and speaker configuration. Dynamic placement of sound “objects” within the configuration. Scalable sound size or “radius.” Hooks for external control of sound object placement. Initial Software Tests

43. Based on Simon Fraser's implementation of Craig Reynolds' Boids algorithm “Boids,” Eric L. Singer

44. Pieces in Progress “TerraSonus” Moore Installation of a large-scale navigable sonic landscape “struct_1.cg.0” Trueman/Bahn A “Digital Concerto Grosso” for Electronic Duo and Large Chamber Orchestra

45. Building new sonic display systems is a very rewarding activity: Speakers constitute our “voice” in electronic music yet we rarely engage them on this level when studying electro- acoustic music composition and performance. This project provides engagement with design, fabrication, acoustics, electronics, programming, and composition. Great class or independent project for students.

46. No, we’re not selling them... We will provide you with plans and information if you want to build some. Curtis Bahn crb@rpi.educrb@rpi.edu http://www.arts.rpi.edu/crb Stephan Moore stephan@oddnoise.comstephan@oddnoise.com http://www.oddnoise.com/

47. Thanks to the Integrated Electronic Arts Program Rensselaer Polytechnic institute - iEAR Studios. Polk Audio, Inc. Partners in crime: David Lublin, Jonathan Marcus - Undergraduate Research Assistants Scott Smallwood, Dan Trueman, Perry Cook Interface at the Flea Theater in NYC April 15th, EMF series Bahn, Trueman, Cook, Hahn, Dubois