Figure 3 - uploaded by Marije Baalman
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Transport control of WONDER. The slider enables the user to jump to a new time. The time in green (left) indicates the running time, the time in yellow (right) the total duration of the score. The caption of the window indicates the name of the score file.
Source publication
WONDER is a software interface for using Wave Field Synthesis for audio spatialisation. Its user group is aimed to be composers of electronic music or sound artists. The program provides a graphical interface as well as the possibility to control it externally using the OpenSoundControl protocol. The paper describes improvements and updates to the...
Context in source publication
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We organised an elven day intense course in materiality for musical expressions to explore underlying principles of New Interfaces for Musical Expression (NIME) in higher education. We grounded the course in different aspects of ma-teriality and gathered interdisciplinary student teams from three Nordic universities. Electronic music instrument mak...
Citations
... Psyco-accoustical experiments from Wenzel [29], find that audio latency of 250ms presents a perceivable lag when paired with visual or user feedback. Existing WFS implementations such as WONDER [2] or CAR-ROUSO [26] offer real-time processing, but restrict virtual sources to pre-computed positions, panning between points to simulate source movement. Using this method, not only is WFS rendering incorrect between points, but the perceptual cue of Doppler effect inherent in WFS is omitted. ...
The UCSB Allosphere is a 3-story-high spherical instrument in which virtual environments and performances can be experienced
in full immersion. The space is now being equipped with high-resolution active stereo projectors, a 3D sound system with several
hundred speakers, and with tracking and interaction mechanisms.
The Allosphere is at the same time multimodal, multimedia, multi-user, immersive, and interactive. This novel and unique instrument will be used for research into scientific visualization/auralization and data exploration,
and as a research environment for behavioral and cognitive scientists. It will also serve as a research and performance space
for artists exploring new forms of art. In particular, the Allosphere has been carefully designed to allow for immersive music
and aural applications.
In this paper, we give an overview of the instrument, focusing on the audio subsystem. We give the rationale behind some of
the design decisions and explain the different techniques employed in making the Allosphere a truly general-purpose immersive
audiovisual lab and stage. Finally, we present first results and our experiences in developing and using the Allosphere in
several prototype projects.
The paper describes the sound systems and the listening rooms installed in the new "museum of reproduced sound", actually being built in Parma, restoring an ancient church. The museum is devoted to the exposition of a huge collection of antique radios and gramophones, but it will also exploit the frontiers of modern methods for immersive surround reproduction: WFS and HOA. In the main hall, a large planar WFS loudspeaker array is employed for inviting the visitors to enter the world of sound reproduction, providing stunning effects and emotional sounds enveloping them from many directions. At the end of the exposition path, a special HOA space is employed for showing the recent developments of recording/reproduction methods started from the Ambisonics concept, capable of creating natural reproduction of sport events, live music and other immersive acoustical experiences; in this room also a binaural/transaural system is available. A second, larger listening room capable of 30seats is equipped with a horizontal WFS array covering the complete perimeter of the room. The paper describes the technology employed, the problems encountered due to the difficult acoustical conditions (the museum was formerly a church), and the novel software tools developed for the purpose on LINUX platforms.
