to the development of subtle gestural performance interfaces are
equally responsive sonic displays; they are of central importance
in the feedback loop between physical gesture and sonic response.
The sonic display must reinforce the nuance of physical gesture
and offer localized sonic feedback for the performers on stage.
we integrated electronics and computation into our improvisations
our conventional sound system grew, eventually completely obscuring
our acoustic beginnings. We recently replaced our P.A.-style system
with a set of six spherical speaker arrays of various sizes, including
three 14-inch spheres, a 12-inch sphere, an enormous 22-inch sphere
(bubba), and an 8-inch tweeter-ball. These speakers, strewn about
the stage in various configurations, function much like instrumental
sources and create a sound field somewhat similar to a conventional
chamber ensemble. The spheres localize our sounds, providing distinct
points on stage for listeners and performers to grasp, yet also
fill spaces and encourage listeners to walk among us; the typical
plane of separation created by stage and P.A. system is non-existent.
Consequently, these speakers render the concept of "monitoring"
irrelevant; there is no need to create a "monitor mix" since the
speakers and room do it automatically.
also have a configuration of 4 spheres that I use in solo performance.
information on spherical speakers and Sensor/Speaker Arrays can
be found on the "alternative
voices or electronic sound" website by Trueman, Bahn, Cook,
and, in the paper,
"interface: electronic chamber ensemble," by Bahn
ASA2003 powerpoint "inside-in, alternative
paradigms for sound spatialization"
Curtis Bahn and Stephan Moore