User scenarios

Karl-Heinz, the Composer

  • Creates spatial, electro-acoustic compositions usually in studios by using a DAW (Digital Audio Workstation)
  • He wants to be able to perform his pieces in different venues and adapt his music on-site
  • He has inadequate tools for the compositional process, because of limited way to describe and create space, and the limited number of loudspeaker channels.
  • He needs a format to store and conserve his ideas
  • His pieces are performed in different halls, with different equipment, computer hardware and loudspeaker configuration.
  • Karl-Heinz wants that his pieces are reproduced as ideal as possible.

Pierre, the Sound Installation Artist

  • Works mostly on sound installation in "white-cube" gallery spaces and acoustically unusual environments
  • He uses different spatial sound renderer in different software environments
  • He often uses irregular loudspeaker setup, far away from ITU recommendations
  • Pierre creates spatial sound scenes and try out how different sound renderer perform on the site
  • Every installation is unique, nad he wants to document it.
  • In the installations, often listener can interactively control the rendering process

Delia, the Sound Engineer

  • Is producing musical content in consumer formats
  • She works mostly with a DAW (Digital Audio Workstation) with a lot of 3rd party plug-ins
  • She uses the internal automation features of her DAW for spatial scene manipulation which is mostly very time-consuming
  • The transfer of projects to different DAW is complicated for her because automation data are usually lost if a 3rd party plug-in is not present at the other DAW
  • Every 5 years she has to re-arrange her projects for yet another better format

Francis, the Acoustician

  • Studies human auditory perception in audio reproduction system
  • Wants to perceptually evaluation spatial sound renderer and multichannel audio codecs
  • He researches methods to synthesize and manipulate perceptual attributes, such as source width or listening envelopment

Pauline, the Virtual Reality Researcher

  • Uses the internet as a performance space
  • She organizes telepresence concerts with remote musicians
  • Often musicians and audience are placed freely in a virtual environment and auralization techniques are used to simulate a specific acoustic

Leela, the Musicologist, in the year 2090

  • Likes spatial music from the beginning of the Millennium
  • Often she can't find a reproduction system to play back historical tape music, such as DVDs or DAW-projects files with loudspeaker associated audio files.
  • She wishes that composers had used a scene description notation independently from the reproduction setup, a scene description she could study now more easily.

Edgar, the avant-garde visionary composer

Edgar doesn't like bullets in text writing and finds current contemporary spatialized music to be naive. He thinks that what most composers do with sound in space resembles what a child would do with a pen and pencil: Draw simple geometric figures like dots, lines, curves and spirals. With current tools this is all that is possible, but Edgar dreams of new ways to dream about spatial sound, new ways to notate, analyze, edit and manipulate spatial information that would open for new understandings and conceptions of sound in space, in a similar way to how the introduction of notated music formed a foundation for the development of polyphonic music.