The process of live sound spatialisation has many unpredictable parameters. Large numbers of loudspeakers with variable frequency responses, hastily configured routings, live and recorded audio sources that change between works, unforeseen technical requirements, compatibility issues, unfamiliar control interfaces, limited setup, rehearsal and change-over time, complex power and signal routing schemes, long cable runs and unpredictable venue acoustics are all issues familiar to performers of electroacoustic music. Unsurprisingly, the articulation of space in a live, multi-loudspeaker scenario can be problematic. Even 'simple' CD-only diffusion requires dexterity on the part of the performer and considerable technical planning. If we consider multiple sources, with more than two channels of audio, each source to be diffused independently under the control of a single performer, the difficulties are compounded. Now consider that we want to stage a live performance of multiple works where each item on the programme has different requirements, and we have a real problem on our hands. A solution to this problem is needed. In Towards and New Architecture, Corbusier observes that a problem, clearly stated, naturally yields solutions through the process of design. Thus, the aeroplane is the logical conclusion to the problem, clearly stated, of sustaining flight. This ethos has been adopted by the authors in beginning to address the 'problem' of sound spatialisation, and in the ongoing development of Resound, a system comprising a bespoke hardware design and open-source software. This paper begins by stating the problem of sound spatialisation. Against this background, the Resound system is presented in design and implementation.
CORE (COnnecting REpositories)
CORE (COnnecting REpositories)