Re: On 8 speakers


Subject: Re: On 8 speakers
From: DG Malham (dgm102@york.ac.uk)
Date: Mon Jan 25 1999 - 05:43:46 EST


There is, of course, another option, which is to decouple the composition
and performance speaker environments so that the composer only has to be
concerned the actual spatial elements within his/her composition and not
with performance matters - compositional decisions of the sort "This sound
should sweep from due front to due back in x seconds following a clockwise
circular path" rather than "This sound should pan from mid-way between
pair 1/2, through 2/4, 4/6, 6/8 to mid-way between pair7/8" (then having
to worry about whether the performance venue will match the the layout in
the studio) become possible. This is not to say that panning between
between speakers in specific loudspeaker orchestra (Beast, GMebaphone etc)
is not valid - far from it - but that the composer should have the choice
as to wether s/he or a diffusion artist is in charge of the spatial
elements in the composition.

On the point Kevin makes about going to a more circular array - the
consistent distance/angular separation of the speakers in the array, at
least as far as a central listener is concerned, do make things easier.
However, at least the distance part need not be done physically, since the
nearer speakers can simply be subject to digital delay and reduction in
level to make them appear to be the same distance as the further ones.

        Dave

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On Sun, 24 Jan 1999, KEVIN AUSTIN wrote:

> (Use a mono-space font.)
>
>
> There is currently a discussion going on about the placement of speakers
> in an eight-speaker environment. There are two 'easier' basic options and a
> more difficult one. Darren Copeland has written:
>
> >Also, last night before I left we re-configured the studio at le
> >Conservatoire de Musique to more of a round circle.
>
> > front
> >
> > 1 2
> >
> > 3 4
> >left right
> > 5 6
> >
> > 7 8
> >
> > rear
>
>
> >Speakers 1,2,7 and 8 are roughly 25 degrees from centre. Speakers 3,4,5,
> >and 6 are roughly 25 degrees from the right angle position.
>
>
> The other basic option is for three stereo pairs, and a FRONT and BACK
> speaker ...
>
> FRONT
>
> 1
>
> 2 3
>
>
> 4 5
>
>
> 6 7
>
> 8
>
> BACK
>
>
> It is possible in the Concordia situation to set up both systems (more
> or less) at the same time, having 10 speakers available.
>
> The third, more complex in terms of production, is to create a cube.
> Flying four speakers in our situation is not possible. The Concert Hall
> does have two raised speakers in the 'front' position, but more work
> needs to be done to determine if in fact this is of much use. (They may
> be too close together and not high enough, but are used for general
> reinforcement of groups, so are not able to be moved.)
>
>
> It has been our (rather limited) experience that eight (and four) channel
> pieces come in two basic varieties: an eight-channel 'projection' of a
> stereo piece, or a discrete eight-channel piece. When programing, we
> always put the discrete 8-ch pieces last, as once someone has heard
> 'real' 4 or 8-channel, 'sound projection' from a stereo source is like
> Kool-Aid to real oranges.
>
> The February concerts will feature a number of multi-channel pieces (from
> ADAT), on both Tuesday and Friday. Detailed listing to follow later.
>
> When preparing documentation, the most important thing to receive is a
> picture, or detailed listing of where the composer wants each channel to
> appear... just write:
>
> ADAT CHANNEL HAll
> 1 Front center
> 2 Front left
> 3 Front right
> 4 Front-side left
> 5 Front-side right
>
> etc. Exactly how to adapt it to the existing situation will be worked out.
> Thanks.
>
>
> Best
>
> Kevin
> kaustin@vax2.concordia.ca
>
>
>
> January thaw ... 7 degrees C (44F) almost misty.
>
>
>



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