The intention of this project is to work out methods for the reproduction of three-dimensional sound environments by creating various prototype recordings. The process of recording, mixing and playback as well as the reception by the listener will be examined. The loudspeaker setup is a standardized 10.1 array (5.1 with additional height loudspeakers), whereas finding suitable multi-channel microphone arrays for various recording situations is part of the research process.
Abstract
Being restricted to stereophonic or two-dimensional sound formats for creating a surrounding space is unrewarding. The surrounding space that gives us the impression of being in a church, a concert hall or a theatre is missing. Important characteristics of contemporary music, contemporary theatre as well as sound art with a focus on spatial elements can not be reproduced thoroughly. Also, in new media like 3D cinema and television, video games and applications for the creation of virtual spaces, dedicated systems for playback and recording are required. Considering today‘s technical possibilities, it is difficult for the sound engineer to find an appropriate approach for the reproduction of a specific acoustic situation. Empirical knowledge is rather diffuse, theoretical approaches and technical means are rarely based on clear criteria. An official vocabulary for describing and qualifying three-dimensional acoustic events is missing. The intention of this project is to work out methods for the reproduction of three-dimensional sound environments by creating various prototype recordings. The process of recording, mixing and playback as well as the reception by the listener will be examined. The loudspeaker setup is a standardized 10.1 array (5.1 with additional height loudspeakers), whereas finding suitable multi-channel microphone arrays for various recording situations is part of the research process.
Prototype Recordings
So far, five recordings have been made. In November 2013, the «Symphony No. 4» by Charles Ives was recorded at the Tonhalle in Zurich. In January 2014, a recording of «Schattengesänge» by Germán Toro-Pérez was produced in a church (Kirche Enge, Zurich). In order to evaluate the localization accuracy of our microphone arrays, test recordings were done with an actor who was moving around the microphone array while speaking. An electro-pop song of producer Ruedi Tobler was re-mixed from stereo to 3D Audio using various spatialization techniques. Two concerts of Jazz/Pop-Students from the ZHdK were recorded live in a Jazz club (Moods, Zurich). Further recordings are planned, including a studio recording of a Jazz Quartet (Ronin Rhythm Clan) and a sound installation by the Austrian artist Bernhard Gál.
Expert opinions
There is hardly any literature on 3D Audio. Therefore, close collaboration with experts who have practical experience in this field and are ready to share their thoughts is essential. Some of the experts we are contacting have more of a technical background, like sound engineers who are developping their own methods for recording and mixing in 3D. Other experts have more of a musical background: musicians, conductors and sound artists are helpful in judging recordings on an aesthetic level, especially if they were involved in the recording. We are planning to exchange our recordings with these experts, as their feedback will be most valuable to our work. In order to get from them as much information as possible, an interview guideline has been made.
Final event
In May 2015, a symposium was held where our recordings were be demonstrated to students and teachers from other universities as well as audio professionals. Some of the experts we worked with shared their thoughts in lectures or podium discussions. The conference was a collaboration with the film department of the ZHdK, whose students presented the use of 3D Audio in their film work.