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Creating Navigable Sound Spaces: A Compositional Approach

Explore the concept of navigable spaces and parameters impacting interactive music systems, using technology like Macromedia’s Director and Niels Gorisse’s CPS. Understand physicality, mapping levels, and activity evolution in a dynamic sound environment.

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Creating Navigable Sound Spaces: A Compositional Approach

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  1. Some Thoughts on Composing a Navigable Space Dr. Dan Hosken Assistant Professor of Music California State University, Northridge Presented at: SEAMUS 2004 San Diego, CA March 25, 2004

  2. Definition • Navigable Space: a real or virtual environment that is traversed by a user or surrogate. Aspects of that navigation such as position, velocity, acceleration and “effort” serve as input to an interactive music system.

  3. Related Work • Gerhard Eckel (esp. Camera Musica) (http://viswiz.gmd.de/~eckel/publications/eckel97b/eckel97b.html) • Char Davies (esp. Osmose) (http://www.immersence.com/) • Tod Machover’s Brain Opera (esp. the “Harmonic Driving” game) (http://brainop.media.mit.edu/)

  4. Scale • Concept realizable on different scales • Videogame-style (keyboard/joystick) • Fully immersive VR environment • “Sound Space I” is currently realized on the videogame-style scale • NavigationSound Parameter mappings should scale

  5. Physicality • “Character” subject to some physical laws • Expenditure of energy is special concern • “Physicality” implies a sense of physical reality— not necessarily subject to literal laws of physics.

  6. Parameter Mapping Levels • Direct: motion directly affects aural result (e.g., localizing a sound source to the onscreen character) • Indirect: motion affects a higher level entity (e.g., causes a group of tones to brighten or distort) • Abstract: motion tendencies affect the tendencies of higher level entities (e.g., sustained activity affects the pitch evolution of the materials)

  7. Sound Space I Technology • Macromedia’s Director multimedia authoring software • Niels Gorisse’s CPS—patchable realtime synthesis software (Max/MSP-ish) based on MPEG-4 SA (Csound-ish) • CPS is also implemented as a Director Xtra—CPS patches can be saved as Lingo scripts

  8. CPS Interface

  9. CPS Patch as Lingo script -- Subpatch: 'RMShaper4' -- Subpatch: 'RingModOscil' set sinus174 to CPSgetObject("sinus") set multiply175 to CPSgetObject("*") set multiply176 to CPSgetObject("*") CPSOBJConversate(multiply176,"_UP") CPSOBJConversate(multiply176,"_UP") CPSOBJConversate(multiply176,"_UP") set multiply177 to CPSgetObject("*") CPSOBJConversate(multiply177,"_UP") CPSgetConnection(multiply175,40,sinus174,20) CPSgetConnection(sinus174,30,multiply176,10) CPSgetConnection(multiply176,30,multiply177,11)

  10. Setting CPS Parameters CPSOBJkin(polytab4,5.0,0) --polynomial table CPSOBJkin(dur4,250.0,0) --note duration CPSOBJkin(att4,50.0,0) --Attack (ms) CPSOBJkin(dec4,50.0,0) --Decay CPSOBJkin(sus4,1.0,0) --Sustain Level CPSOBJkin(rel4,100.0,0) --Release CPSOBJkin(numberField266,58.0,0) --unlabeled numberfields CPSOBJkin(numberField267,0.88,0) CPSOBJkin(rmfreq41,1.0,0) --Frequency factor for ring mod 1 CPSOBJkin(rmamp41,0.5,0) --Amplitude of ring mod 1 CPSOBJkin(rmfreq42,2.0,0) --Frequency factor for ring mod 2 CPSOBJkin(rmamp42,0.0,0) --etc. CPSOBJkin(rmfreq43,3.0,0) CPSOBJkin(rmamp43,0.0,0) CPSOBJkin(rmfreq44,3.2,0) CPSOBJkin(rmamp44,0.0,0) CPSOBJkin(rmfreq45,3.7,0) CPSOBJkin(rmamp45,0.0,0)

  11. Sound Space I Visual Interface Cindercone, Lassen National Park, CA

  12. Sound Space I Visual Interface • Invisible overlaid shapes delineate “hot” and “cool” zones • Asteroids-style ship is controlled by arrow keys plus a ‘F’ast key • Friction factor is applied to ship movement—higher in hotter zones, lower in cooler zones • Doors to lead to other landscapes (future) • Invisible, moving trap doors (future)

  13. Sound Space I Mapping: Engine • Simple phasor at nearly sub-audio run through low-pass resonant filter • Largely “Direct” mappings • Horizontal position  Pan • Speed  Frequency (ca. 16 to 20 Hz) • “Effort”  Filter Cutoff

  14. Sound Space I Mapping: Shaper • Non-linear waveshaping instrument with ring modulation • Largely “indirect” and “abstract” mappings • Note-level parameters include ASDR envelope parameters, distortion index, and ring modulation frequency factor • Notes are played automatically in a regular rhythm with pitches chosen from tables

  15. Sound Space I Mapping: Shaper • Global parameters include note duration, inter-onset time, inter-onset randomization amount • Pitches are chosen from tables • Transposition determined by effort level associated with zone • Effort associated with various zones determine most parameters

  16. Temporal Shape: Activity Level • User actions determine much of the temporal evolution • An “activity level” is calculated from the user’s persistence in various zones • Currently the rate of activity level accumulation is externally set • Activity level determines the pitch collection “expansion” and the octave offset • Each landscape may have a different balance of “hot” and “cool” zones

  17. Dan.hosken@csun.edu http://www.csun.edu/~dwh50750/

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