The multi-touch SoundScape renderer

Bredies, Katharina; Mann, Nick Alexander; Ahrens, Jens; Geier, Matthias; Spors, Sascha; Nischt, Michael

doi:10.1145/1385569.1385660

Cited by 10 publications

(8 citation statements)

References 7 publications

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“…The majority of early applications for such devices focused on synthesis models; it became apparent that such interfaces have use not only in performance but also for collaborative installation and as studio tools. Research teams [9,10] have explored the development of multi-touch studio mixing tools, which have included spatial rendering; however, with the exception of the SoundScapeRenderer [11], they have largely been limited to stereo or quadraphonic speaker systems.…”

Section: Multi-touch Solutionsmentioning

confidence: 99%

Emerging Technologies for Real-Time Diffusion Performance

Johnson

2014

Leonardo Music Journal

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13were dispersed. This began with research into the psychoacoustics of human hearing, leading to more accurate pan-pot laws for stereo panning [3], and were furthered again in the 1990s with developments in vector-base amplitude panning [4], wave field synthesis and higherorder ambisonics. The new technologies encouraged new spatial aesthetics, allowing composers to conceive spatialization through a focus on the creation of holophonic sound fields and phantom sources.Tools for the control of spatialization algorithms found their way into digital audio workstations, allowing the composer to drag a virtual representation of a sound object and place it within a speaker array. The amplitude mapping of faders was counterintuitive for pantophonic motion (i.e. circular spatial trajectories): Most spatial user interfaces became graphical. In spite of this, the mixing desk continued to be the user interface for diffusion performance. With composers thinking and acting one way in the studio and another in the concert hall, the paradigm was ripe for disruption. In the studio, composers have as much time as needed to place sounds precisely where desired and to trace out specific trajectories with the mouse onscreen. In performance, the luxury of time is diminished, and gestural relationships become more relevant. The holophonic sound field and its effect on a composer's way of thought emphasized the need for a new performance interface, as the ergonomics of the mixing desk often hinder the potential trajectories available to the performer. This problem a b s t r a c t Wi th the ascendance of the field of new interfaces for musical expression, a new phase of sound diffusion has emerged. Rapid development is taking place across the field, with a focus on gestural interaction and the development of custom performance interfaces. This article discusses how composers and performers embracing technology have broadened the boundaries of spatial performance. A particular focus is placed on performance interfaces built by the author that afford the artist more control over performative gestures. These new works serve as examples of the burgeoning field of diffusion performance interface design.Bridget Johnson (researcher, student), New For over half a century, the performance paradigm of sound diffusion has centered on the performer using a mixing desk as a controller. While much development has taken place regarding studio spatialization techniques and rendering algorithms, until recently the performance interface for diffusion has seen little change. A recent trend in diffusion performance is the application of new musical interfaces. HistoryIn 1951, Pierre Schaefer and Pierre Henry presented the potentiomètre d'espace, a diffusion system with which they performed precomposed electroacoustic music by dynamically spatializing sounds through a tetrahedral speaker array. The two artists built an interface of potentiometers to control the gain of each speaker and, thus, the spatial field [1]. The diffusion concert is a tradition that r...

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Section: Multi-touch Solutionsmentioning

confidence: 99%

Emerging Technologies for Real-Time Diffusion Performance

Johnson

2014

Leonardo Music Journal

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“…In the same area of producing music, the SoundScape renderer built by Bredies et al [2008] is also a round tabletop, though the interaction is completely different. The SoundScape renderer is located in the center of a circular room, such that the display mimics the spatial setup of the environment.…”

Section: ♦♦♦mentioning

confidence: 99%

A pattern language for interactive tabletops in collaborative workspaces

Remy

Weiss

Ziefle

et al. 2010

Proceedings of the 15th European Conference on Pattern Languages of Programs

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In this paper, we present a Human-Computer Interaction (HCI) design pattern language that bundles existing knowledge on tabletop design and offers solutions to recurring problems. Our patterns enable not only developers, designers, and domain experts to improve their existing systems and facilitate the design process of new systems, we also encourage novice users to comprehend the variety of tabletop research and commercial products in this domain. We consider our language as a starting point to create a sustainable body of knowledge that will be extended and refined by the community.

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“…Data is also transmitted over a network connection. One example for the host of other systems which use their own internal image processing is the Soundscape Renderer [1]. A Javabased solution extracts touch points from the image and sends them to the application.…”

Section: Related Workmentioning

confidence: 99%

A multitouch software architecture

Echtler

Klinker

2008

Proceedings of the 5th Nordic Conference on Human-Computer Interaction: Building Bridges

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In recent years, a large amount of software for multitouch interfaces with various degrees of similarity has been written. In order to improve interoperability, we aim to identify the common traits of these systems and present a layered software architecture which abstracts these similarities by defining common interfaces between successive layers. This provides developers with a unified view of the various types of multitouch hardware. Moreover, the layered architecture allows easy integration of existing software, as several alternative implementations for each layer can co-exist. Finally, we present our implementation of this architecture, consisting of hardware abstraction, calibration, event interpretation and widget layers.

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The multi-touch SoundScape renderer

Cited by 10 publications

References 7 publications

Emerging Technologies for Real-Time Diffusion Performance

Emerging Technologies for Real-Time Diffusion Performance

A pattern language for interactive tabletops in collaborative workspaces

A multitouch software architecture

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