au_vector: Troy Innocent 2002
au_vector investigates new opportunities for sound design in digital media.
Following an investigation of current work in this field, potential was identified
in the development of sound objects in virtual space. Interactivity, movement,
and the combination of synthetic sound and image were the key elements explored
in the model. Interactive software was developed, comprising six audiovisual
environments explore different aspects of these key elements. When using the
software you can mix the environments in and out, switch cameras, and alter
the motion of the camera. The result is a performance system featuring a complex
interplay of spatial sound and image.
Realised at Monash University with the assistance of an ARC Small Grant.
Environments
1. SphereDrum
as the individual loops move along their path at different speeds, the mix of
sounds constantly changes as they move in and out of sync with one another.
With the camera set to follow a particular sphere, the mix changes dramatically
again as the listening point is rotated to keep up with the sound. The result
is quite dynamic, although the results are somewhat hard to control.
2. Cubik
by linking the positions of the sounds to positions of several cameras in the
space expands the flexibility of the system. 8 cubes x 10 paths x 6 cameras
= 480 potential combinations. Displacing notes in space expands the notion of
using space as a dimension of sound by distributing the melody and the listener
into the environment. Further potential in the use of smaller objects to define
the structure of larger objects can be seen in the shifting cubic geometry.
3. P-field
each sound is attached to a sphere model which is invisible, apart from a particle
system which is generated from it’s surface
description of result: the transparent nature of the spheres creates a sense
of floating in the space. Complex sound timbres have been combined with complex
visual representation (multiple particles) in a simple 3D sound mix. As the
spheres move at constant velocity and have no direct interactive relationship
with the camera, the result is a more gentle sound mix in comparison with (a)
and (b).
4. Proxa
two sound parameters, volume and pitch, are being effected in this environment.
This results in many more variations on the source sound than in any of the
other environments. Using proximity as a trigger for events increases the effect
of selecting different paths for the sound. Wireframe representations allow
the overlap and intersection of objects to be more visible.
5. Plana
the sound objects in this environment are quite large, resulting in more overlap
of sounds in the 3D mix. Visually, this environment is interesting as the camera’s
field of view is filled with moving textures. When viewed from a distance, the
stack of planes combine to form a larger object.
6. Array
this environment has the most direct relationship between the user’s camera
and the sound objects. Selecting different paths results in different sequences
of sounds being triggered in the array – it performs like a musical sequencer
with tracks that may travel in three dimensions. It is possible to play this
array by quickly alternating between different cameras.