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Future of Sound to Audio: 3D Sonic Imaging That Challenges Audiences to Embrace a New Take on Goldsmiths Embracing Sound,” Says Ware

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Future of Sound to Audio: 3D Sonic Imaging That Challenges Audiences to Embrace a New Take on Goldsmiths Embracing Sound,” Says Ware PSNE May P35-45 Live 23/4/09 16:07 Page 40 40 live www.prosoundnewseurope.com G May 2009 UNITED KINGDOM A vision of the future system, called 3D AudioScape. It is capa- 3D AudioScape ble of transforming a conventional room into a sports stadium, or a concert hall helps brings The into a cubicle. “This is the holy grail of Future of Sound to audio: 3D sonic imaging that challenges audiences to embrace a new take on Goldsmiths embracing sound,” says Ware. 3DAudioScape is a Mac-based soft- College, reports ware and hardware surround-sound 3D Audio FX and composition solution Simon Duff aimed at the theatre, design, art and cin- ema industries. Developed by Paul Russian theremin artist Andrey Smirnov was a highlight The Great Hall in London’s Gillieron Acoustic Design, with extensive Goldsmiths College was the input from Ware and Clarke, it allows at a very deep level. The best cinemas Illustrious content which is either in f setting for March’s Future of users to position up to 16 sound sources, only have sound on one plane. They Logic format or rendered as B Format Sound/Future of Light event, designed in real time, anywhere in the three- don’t have a height access. We can move (which plays directly from 3D to showcase the latest in cutting-edge dimensional soundscape created within sound in any direction, including up.” AudioScape). We also take live inputs audiovisual acts and hosted by Martyn an array of at least eight speakers. A com- For Goldsmiths, 12 speaker posi- from the different artists. Inputs usu- Ware, electronic pioneer and founder position rendered in 3D AudioScape can tions were set up. A standard left/right ally come via a MOTU 8pre which gives of Human League and Heaven 17. Part Martyn Ware hosted the event be reconfigured for any speaker place- FOH stack on stage consisted of d&b us both digital and analogue options performance, part art education pres- ment or size of room, by entering the audiotechnik Q1s and Q subs, handling and our outputs are sent via a MOTU entation the show explored the future Vince Clarke, Future of Sound began individual co-ordinates of each speaker the speech and some of the acts choos- Ultralite or two depending on how of experiential art and sound. In tan- putting on events in the UK in 2003 in relation to the centre of the space. ing to work in conventional stereo. For many speakers we’re using. We give the dem with Illustrious, Ware’s creative presenting ambient compositions that Ware comments: “With our system the 3D processing a further four speak- FOH one feed per speaker and they venture with Yazoo/Erasure co-founder utilise a ground-breaking 3D surround we can tickle a sense of reality in people er points around the sides of the hall sum the lower speakers to the subs.” consisted of d&b M4s and Q subs with Acts performing on the night includ- an additional six d&b Q7s set up in the ed The Sancho Plan who produced a balcony either side of the hall. Providing live interactive show using electronic the PA and a DiGiCo SD8 handling drum pads to control a cast of animat- FOH and monitors were Encore ed characters. The trio used AudioScape Sounds who has been working with in two ways: first by plugging in their Illustrious and Future of Sound Projects stereo mix signal to utilise what band since 2000 when they put a huge 3D leader Ed Cookson refers to as “some system in the Woolwich Arsenal when fantastic spatial effects that broaden Erasure played live. the sound” and secondly for an under- The Sancho Plan performed a live interactive show featuring animated characters Glenn Pearson, Encore’s project water animated piece. Cookson says: manager, gives his view of the 3D “We designed this so that the sounds AudioScape system. “I have heard a of the characters being played can be number of these systems over the years moved independently around the 3D but most of them didn’t seem to do sound-field by our real-time MIDI con- what they said they did. The spacialisa- trol messages that we send to the tion on this system however works really AudioScape controller.” well and isn’t just dependant on being London-based design collective in one sweet spot in the room.” United Visual Artists showed highlights Mixing at the SD8 was Encore mix of their swinging light/sound pendu- engineer, David Howells. He comment- lum installation ‘Chorus’. Scanner pre- ed on the set up for the evening: “Most sented, in tandem with visual artist of the sources come from computer, but Sophie Clements, extracts from their we are using Shure UHF-R radio sys- collaborative work including an instal- tems for vocals. Regarding the SD8 we lation shown at The Royal Opera House are trying one out on demo, as we already last year where images were mirrored own a D1. The SD8 is packed with upon themselves producing a hypnotic features, has excellent I/O and bussing tunnel of light and sound. Other high- capabilities, with great sonic perform- lights included a mesmerising perform- ance, in a small package and it is reason- ance from Russian theremin artist ably priced. All of this makes it a good Andrey Smirnov and a remix version choice for a hire company with a diverse of The Human League’s early classic portfolio of work such as ours.” Being Boiled complete with live vocals Responsibility for processing the from Ware. The nationwide tour travels acts into the 3D AudioScape was Future to The Sage, Gateshead on 23 May. Q of Sound regular live and studio sound www.3daudioscape.org engineer Asa Bennett. For the event he www.encorepa.co.uk ran 3D AudioScape alongside Logic on www.futureofsound.org the same Macbook. He explains how www.illustriouscompany.co.uk he works: “For the show we run www.pgacoustics.org.
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