Music Producer, Composer, Arranger, Spatial Audio Researcher
Exploring Spatial Audio in Contemporary Music Composition: A Multichannel Surround Sound Approach
硕士毕业论文“Exploring Spatial Audio in Contemporary Music Composition: A Multichannel Surround Sound Approach”《多声道环绕声空间音频在现代音乐作曲中的研究》
This study aims to explore the creative possibilities of contemporary music composition through the use of surround sound. The author investigates how this innovative approach can bring a new sense of sound. In the past, many artists and composers have used multichannel configurations to perform or create installations to explore the relationship between their work and space. However, few have explored the use of song instruments and space itself as a song. To address this gap, the author brings a new perspective by incorporating field recording, different recording and production techniques, and new instrument exploration in the production process, allowing traditional contemporary music to be presented in a custom multichannel setup. Through the use of Envelop for Live spatial plugins from Max for Live for different channels, ambisonic recording with a Zoom H3-VR mic, Landscape noise-generated synthesizer, hardware synthesizer Sequential Take 5, and granular synthesis in the Eurorack system to explore how these methods can be applied with Ableton Live to create works with a variety of sounds and to investigate the relationship between spatialization and composition space.
介绍：
作者词曲创作、录制、演唱、混音和制作了一首原创沉浸式空间音频歌曲“Golden Woman”,并把空间作为作曲元素之一。
1. 作者利用了空间音频插件E4L，在一个18扬声器的定制阵列内创作作品，探索了空间化与作曲空间之间的关系。为了探索创意的空间化作曲，作者使用环绕声麦克风Ambisonic Mic在纽约中央车站进行了现场录音，捕捉了360度沉浸式的环绕声音景，并同时在多个扬声器上进行了转码以进行播放。这样的意图为把另一个空间的enveloping soundscape100%还原至现场。
2. 此外，在录音过程中，作者还采用了独特的钢琴录音技术NOS，捕捉了钢琴的宽阔立体声音响。
3. 作者使用Eurorack和硬件合成的声音设计粒子合成技术，为音效创造新的音色。并使用触摸板合成器，其中利用触摸敏感的板来创建和操控音调。
4. 作者还使用AMBEO mic进行对现场18个扬声器回放的录制,以研究ambisonic mic对现场空间音频存档的优势和局限性。
通过这些创意探索和对环绕声的多次扬声器实验,混音实验等，作者成功地在空间内实现了360度动态的声音移动，以及增强人声在不同高度音箱回放的听感，从而为听众带来了沉浸式的体验。
总结：
这项研究旨在通过环绕声的运用，探索当代音乐创作的创意可能性，作者认为空间的表达也是作曲的一部分。在过去，许多艺术家和作曲家曾使用多声道配置进行演奏或创建装置，以探索他们的作品与空间之间的关系。然而，很少有人探索过歌曲的乐器和空间本身的使用。为了填补这个空白，作者通过在现代音乐制作过程中加入现场录音field recording、录音室录音等不同类型的录音和制作技术，以及新的乐器探索，为传统当代音乐提供了新的视角，使其可以在定制的多声道设置中呈现。通过使用 Max for Live 的 Envelop for Live 空间插件，搭配 Zoom H3-VR 麦克风进行环绕声录制，以及Landscape 噪声生成合成器、硬件合成器 Sequential Take 5 和 Eurorack 系统中的颗粒合成，探索了这些方法如何与 Ableton Live 结合，创作具有多种声音的作品，并研究了空间定位和组成空间之间的关系。
装置 Installation
Designing for Techno-Natural Futures:
Rendering Shenzhen’s Urban Materialities from Inside a “Grain”
A Grain Of
一粟
SUSTech School of Design, Sound Studies Group&Materialities Research Group
Team leaders: Enza Migliore, Assistant Professor, Marcel Sagesser, Assistant Professor
Research Team Members: Yiyuan Bai, Zhaorui Liu, Zhonghui Tang, Yaohan Zhang, Bo Dong, Peihua Huang, Simeng Wang, Yujing Ma, Zichun Xia, Zhiyi Zhang.
Presented at VINCI’24 Conference, Hsinchu, Taiwan, 2024
“A Grain of” is a technology-based, speculative approach toward a holistic understanding of our cities – on the example of Shenzhen. Scientific methods of long-term data sampling from three exemplary areas of the city have yielded in a database that informs this research: a mountainous urban forest, an under-construction high tech district on a reclaimed site, and a densely populated historical retail area. The database shows how the material ecologies we live with daily are assemblages shaped by human, geological, industrial, and technological forces. While this holds for quite any location on Earth, this research shows the specifics of what these forces produce on a micro-scale in Shenzhen. The holistic approach allows this research to expand beyond material data to sonic, magnetic, vibrational, and digital traces. Methods of speculative futuring and scientific data re-interpretation are then combined with advanced technologies. The exhibit suggests an immersive room: a large cube representing a material “grain” of this city, into which the audience steps. Data visualization, sonification, and upscaling of micro-materialities produce a multimodal critical experience for the audience, who can access the hybrid nature of the built urban world around us. Through this research that shows the city as a dynamic composite assemblage and combines the scientific with the sensory, we can speculate on the hybridization of urban matter and how it will shape our future cities on a micro scale – on the scale of the individual “grain.”
“一粟” 以深圳为例，旨在用基于技术与思辨性的方法全面了解我们的城市。本研究对城市中的三个典型区域进行了长期数据采样，分别是: 一个山区城市森林，一个正在开发建设中的高科技区，以及一个人口密集的传统商业区。该数据库展现了我们日常生活中所处的物质生态是如何由人类、地质、工业和技术因素共同塑造为集合体的。尽管这种情况几乎可以适用于地球上的任何地方，但本研究仅供展示微观规模下这些因素在深圳市所产生的具体效应。研究的整体分析从材料数据扩展到声音、磁场、振动和数字痕迹。随后将推测性未来及对科学数据重新诠释的研究方法与先进技术相结合。展览呈现了一个沉浸式的空间，观众可以步入其中：大型立方体代表这座城市中物质的一“粟” 。数据可视化、声音化和微观物质的规模放大为观众提供了一种多模态的批判性体验，让观众能够理解我们周围城市建设世界的混合性质。通过展示城市作为动态集合体的研究，将科学与感官相结合，我们可以推测城市物质的混合化及其如何在微观上塑造我们未来城市的形态 – 基于一“粟” 个体的规模。
声音/交互设计:
上(4个音箱Quad): 高频: 4个顶部音箱，音频是由AMBEO Ambisonic麦克风在不同地区录的的360度环境音频采样&AKG C411Contact mic/2个Condenser Mic录制的不同材质标本相互碰撞的单声道声音
中(悬挂)：中频：由Catart Manu基于concatenative synthesis的声音设计处理的采样音频(环境音,材料声等),嵌入到8个标本(石头,蚌壳等)3D打印模型中，观众可凑近倾听；
下(木板)：低频:由Geofón 全向性麦克风(采集的水中非常微弱的振动)的低频采样音频传到传感器，从而震动木板，同时播放声音，增加和观众的交互性，观众可踩在木板上感受声音的震动。
AMBISONICS RECORDING & SOUNDSCAPE REPRODUCTION FOR LIVE JAZZ CLUB MUSIC (VR)
This research investigates simulating a live music concert’s sonic environment in virtual reality. Using an innovative method, five Ambisonic microphones are positioned throughout the venue to capture both the musicians and ambient sounds such as audience chatter and bar noise. These recordings undergo advanced spatial audio processing and are integrated into a Unity3D VR scene with Steam Audio, enabling real-time auditory rendering. The study introduces this approach and assesses its efficacy through a pilot user study, contrasting the new spatial audio VR method with basic video and stereo audio playback and a mixed setup.The findings highlight the ability of the arrayed Ambisonics method to enhance spatial perception, presence, and engagement in virtual environments.
本研究探讨了在虚拟现实中模拟现场音乐会的声音环境。采用创新方法，在演出场地内布置了五个Ambisonic 麦克风，以全面捕捉整体环境中音乐家的演奏及观众交谈、酒吧噪音等环境声。这些录音通过后期处理，空间音频解码等处理，并集成到 Unity3D VR 场景中，利用 Steam Audio 实现实时听觉渲染。研究介绍了这一方法，并通过初步用户研究评估其有效性，对比了该空间音频 VR 方法与基础视频、立体声播放及混合方案。研究结果表明，阵列 Ambisonics 方法能够增强虚拟环境中的空间感知、临场感和沉浸感。
