Insights and features on music, audio technology, and sonic innovation.
Showing 61 of 103
Articles
Gerriet K. Sharma works where sound stops coming from speakers — and starts shaping space itself. In this interview, the composer and co-founder of spæs Lab Berlin talks about the IKO loudspeaker system as a genuine instrument, the persistent gap between technical progress and artistic practice, and why 3D Audio means far more than a marketing promise. A conversation about the sculpturality of sound, the future of spatial aesthetics — and the questions nobody in the spatial audio scene is asking out loud yet.
The Routledge Companion to the Sound of Space is a comprehensive collection of essays and accompanying sonic material written by practitioners and researchers across a wide range of disciplinary fields, addressing both the current state and future trajectories of works where sonic and spatial practices intersect. The volume was edited by myself, an architect, composer and academic, alongside Prof. Jane Burry (University of Adelaide) and Prof. Mark Burry (University of Melbourne), both architects whose work similarly operates across disciplinary boundaries.
What if you could speak to your panner? SpatAI turns "make a chaotic spiral" into real-time control data, effectively replacing manual labor with algorithmic performance. We analyze how this tool uses AI to bridge the gap between language and spatial object management.
For anyone with basic audio production knowledge, this free course opens the door to spatial audio. Learn principles, psychoacoustics, and creative applications through interactive lessons and real-world case studies, exploring Ambisonics, Dolby Atmos, and beyond.
A data-driven diagnosis of the LATAM immersive scene. This article maps technical frictions, the reality of borrowed hearing, and the survival workflows professionals use to navigate a system not designed for their context.
Step inside the orchestra. The ECHO Project offers a rare open-access look at immersive recording at AIR Studios. Featuring the London Contemporary Orchestra, Volker Bertelmann and top audio engineers, explore the story behind this massive resource for sound professionals.
Contemplation on the role and potential contribution of DIY grassroots initiatives to the development of contemporary spatial audio field. The article unfolds through reflection on Ambisonic summer lab — an initiative made by artists for artists, built through collaboration, mutual help, and open exchange. By creating conditions and connecting people across countries, we aim to contribute to the emergence of a new scene for spatial music — one that values openness over competition, and curiosity over perfection.
In A Song for Two Mothers and Occam IX, Laetitia Sonami and Éliane Radigue explore the transition from analog resonance to digital imagination. Paul DeMarinis reflects on sound, space, and time — connecting Radigue’s flowing Occam series with Sonami’s Spring Spyre instrument, where resonance, drift, and transformation become one continuous current of sound.
Concept-based explanations have emerged as an approach to make models explainable in a human-understandable way. In this article, we investigate extracted concepts for a music emotion recognition model. In a listening experiment, we explore properties of found concepts and show how to present them to users. The article is based on our paper and introduces only parts of our research. More information is provided in the paper.
Amidst the multitude of 3D audio formats like MPEG-H, Dolby Atmos, DTS:X and others, there is a new, open format emerging, IAMF. Let’s have a look at what it's all about and what it means for the future of immersive audio.
As a sound artist and producer, I explore how immersive audio reshapes modern well-being. Beyond stereo, spatial listening activates perception, emotions, and collective experiences. In this article, I’m going to show you how and why.
Francisco López delves into his decades-long work with autonomous sonic systems, which goes beyond today's prompt-based AI. From his visionary concept of a "sonic alter ego" to live performances by AI-driven entities such as PEPA and HARING, López makes a case for artistic collaboration with evolving, unknowable systems. It is a compelling call to embrace the potential of machine creativity and rethink what it means to compose.
Analyzing complex and often abstract forms of sonic expression presents unique challenges, moving beyond traditional score-based methods focus on the inherent qualities of the sound itself. To address this, computational tools have become invaluable, offering objective insights into the sonic landscape of electroacoustic works. But how to apply these tools in real-life situations, and how to easily interpret data collected during analysis?
504 Ways Of Listening is an immersive interactive installation that transforms underwater acoustic data into three-dimensional soundscapes. It reveals the impact of human-made noise in the oceans and invites deep listening as a way to reconnect with marine ecosystems.
Whether you’re an artist searching for new ways to work with space and sound, or you run an art center, research lab, residency or a festival looking to expand what you can offer, the landscape of spatial sound is changing. This article is about those changes, the challenges many of us face, and a new approach leaving our Spatial Sound R&D Lab and entering the world — codenamed the "Singing Watermelons" — inviting the curious minds and unstoppable artists to help shape what comes next.
Converting multichannel electroacoustic compositions for headphone listening presents unique technical and artistic challenges. How do we preserve spatial intent while adapting to binaural playback?
Transmedia composition unfolds across multiple interconnected works using different media-constellations. This essay explores how the relationships between the works generate meaning, and how different modes-of-encounter invite various forms of perception and interpretive possibilities.
New research reveals how musicians truly connect with audiences: it's not technical perfection, but expressive and improvisational playing that drives emotional alignment—measurable through sound, brainwaves, and machine learning.
What happens to music when everyone becomes a composer? This article explores John Cage’s vision of an “anarchic society of sounds” as it unfolds in today’s participatory music culture. The narrative traces developments from historical experiments to generative AI, all informed by the author’s firsthand experiences.
In an excerpt from Semi-Conducting: Rambles Through the Post-Cagean Thicket (Bloomsbury 2025), Nic Collins describes the origins in the early 2000s of his workshops and books on hardware hacking as a response to the lack of tactility in digital tools for sound.
What does a quantum state sound like? What if the invisible dance of quantum bits could not only be heard but also seen? Here, we explore how quantum circuits become instruments of artistic expression, uniquely combining quantum music and fractal art - two fields never before merged - to generate visuals and sound shaped by quantum mechanics.
The 3rd age of multichannel diffusion research focuses on the design of so-called primary forest spaces. In order to specify a terminology that would better define the spaciotemporal metric of sound masses and the geodesic path of each of them in its curved space-time, the term volumiphony seems the most appropriate to define 3D multichannel diffusion.
Dynamic Time Warping is a method for analyzing time series. In my work, I use Dynamic Time Warping as a means to create transitions between sound sequences as compositional material. My article attempts to contextualize my aesthetic and technical approaches in relation to this algorithm.
Ircam Spat is an extensive toolkit for spatial audio. Running in the Max environment, it features more than 300 modules, including audio processors, control objects, and graphical user interfaces, encompassing state-of-the-art spatialization techniques. Its highly flexible and modular design enables its use across various applications, such as concerts, mixing, post-production, virtual and augmented reality, sonic installations, and sound design. This versatility makes Spat a Swiss army knife for spatial sound.
In the 3D AudioSpace of Sounding Future, artists present their audio tracks in high-quality 3D audio. To kick things off, I'm introducing the features of the new audio streaming platform here.
We’ve been hearing a lot about AI music over the past year. But several years before this recent wave of audio generation, big tech companies like Google and OpenAI were testing the waters with open source AI music models. This inspired me to build DrumloopAI, a beat generator that offers an easy-to-use interface and pleasant user experience and is now used by over 65,000 beatmakers around the world.
Speculative Sound Synthesis is an artistic practice, a philosophical concept, and a research method. It is an approach to sound synthesis that challenges conventional methods of sound creation and interaction by interrogating the fundamental relationship between artistic practice and technology. In this article, I will briefly introduce Speculative Sound Synthesis, present its conceptual background, and examine several artistic case studies.
Being a sound designer in the XR industry for over 8 years, I’ve tried many different things. Some worked, some failed. Some worked for a period of time and then the technology changed and I had to revisit what I thought I knew. Here are some of the insights I gathered over time.
As an artist, I have always been interested in social and physical systems of order and communication – the relationships between people and things.
On the development of experimental interfaces for the world's most complex instrument and the gestural and haptic control of artificial voices in live performances.
Legal battles dominate AI music in 2024, but the spotlight shifts to AI filmmaking, where the demand for dynamic film scores is growing. Current AI tools lack orchestral richness and adaptive workflows, but innovators like Audio Design Desk hint at the next wave: intuitive, powerful AI music tools tailored for video creators.
People walk past each other on the street, each at their own pace. They pound at different speeds and distances. My tempolyphonic musical work takes this as a starting point.
For over a decade, I’ve helped artists navigate the immersive audio world, adapting and enhancing their work across a wide range of multichannel and 3D sound setups. From emerging talents to icons like Nicolas Jaar, Murcof, and Suzanne Ciani, I’ve witnessed many common challenges – both creative and technical. Here’s a selection of some battle-tested tips to get ready for anything.
To what extent is artificial intelligence changing the way music is produced? Markus Deisenberger talked to five renowned music producers (Wolfgang Schrammel, Thomas Foster, David Piribauer, Zebo Adam and Georg Tomandl) about the upheaval in the markets, the associated losses and opportunities.
In part 3 of the Music and AI series, Markus Deisenberger deals with the copyright issue of "man vs. machine" and poses the essential question in the context of participatory democracy: "How do we want to shape AI? And what does the development of AI have to do with the invention of the railroad?
In part 2 of the series on AI in music, Markus Deisenberger explores the question of why AI threatens to dissolve copyright law like a pinch of salt in the digital sea of data, analyzes opportunities and possibilities for the education sector and raises urgent questions about transparency, fairness and diversity in the development and use of AI.
Annea Lockwood and Nate Wooley began documenting the sounds of the Columbia River in early 2024. In this conversation, Lockwood and Wooley reflect on the first weeks of recording – from Astoria, Oregon, to the Canadian border – and the discoveries they have made in their attempt to reveal the unique and controversial history of the river through sound.
We present SOUNDDRAMATURGIEN: As a collective, we design performance formats for head-listening audiences - always with the vision of shaping audible space as a narrative parameter. Field studies, discourse, and laboratory situations should lead us to nothing less than a universal theory of 3D audio.
Classical musical instruments reinvented. Digitaize is the unique technology that creates a symbiosis between analog and digital and opens up unique possibilities of expression for musicians.
Artificial intelligence is changing the professional world, including that of musicians. But what do music creators have to fear from AI? Will AI use their work without having to pay for them? Will AI even replace them, or devalue their art? And what happens to works created using AI? Do they enjoy copyright protection?
A look back at the 3D Audio Production Competition for Students 2024. The winners present their compositions. The audio tracks can be listened to using a 3D audio player with head tracking.
In this article, I examine the principle of overwriting and meta-composition in my series of 41 Monadologies, with a particular focus on the overwriting of Schubert's Winterreise in the cycle Cold Trip (Parts 1 and 2).
This article discusses technical aspects of the album site-unspecific and the composition Still Life, from its production in spatial audio environments to its final reduction to stereo format.
On the symbiosis of rotating sound installations and interpreters and the resulting expansions in sound and space. 2 examples.
Whether hanging from a church tower as a ticking modernist anticlock, as part of an immersive sound experience in archaeological shelters, or as a tool that can interpret compositions as sculptures – IKO, the world's most compact loudspeaker system based on 3D audio technology Higher Order Ambisonics, is making a lasting impression internationally.
Bridging the Realms of Architecture and Quantum Physics This article delves into the intersections between sound spatialization, synesthesia, and quantum physics, exploring how these overlapping fields can provide new creative avenues inspired by scientific insights.
The piano player automaton allows composers to realize what is "unplayable" for human beings, be it the most precise time structures, enormous speeds, the most diverse tempi at the same time, or simply an incredible number of notes. (Florian Gessler 2004)
This article series focuses on the evolution of generative audio models. Part 1 explores aleatoric processes, inspired by Xenakis’s pioneering use of mathematical techniques and their influence on the author’s Cosmosf applications. Spanning 20 years of development, the study highlights the integration of stochastic processes, real-time synthesis, and modern technological advancements.
What happens when sound itself redefines the space around you? Two compositions explore this question—one interweaves piano, thunder sheet, and fishing lines, while the other amplifies the viola d'amore’s resonant body into a vast dialogue, challenging our perception of sound and space.
A ground moraine of erratic thoughts along with mannered and mannerist micro-sermons (in textual form) on text, music and theatre.
Quantum computers are increasingly being explored for artistic purposes. In our aesthetic seduction experiment, we have created a jazz-quantum fractal-film by merging abstract art - fractals - generated based on jazz analyzed on a quantum computer and generative AI.
This practical report explains the technical implementation of the broadcast of the 2022 FIFA World Cup in two variants, firstly as a revolutionary broadcast transmission and secondly as a streaming service for a specially developed app. It also shows how soccer broadcasts can be made more efficient and attractive using machine learning and MPEG-H audio.
"Proyecto Carrusel" is an independent research and development project in audiovisual immersive art, from which we have created a multi-platform app for immersive art, in 3D image and sound for mobile use, computers, and virtual reality for use in browsers.
In this article, I outline how the Sounding Future content platform will be expanded in a further project phase to include a 3D audio area with a head-tracking function.
Have you ever wanted to jam over the internet with your favorite DAW or audio programming language? Or stream sound from your computer to mobile devices? Or build your own wireless microphones or speakers? Then the AOO library may be exactly what you are looking for!
Kasson Crooker analyzes the design of “Rocococo Audiogame Fantastique” and creating an “audiogame” experience through the use of 3D audio and clever sound design.
“Dance at the End of Time” is an electro-acoustic dance piece using choral samples. Having written the darkly comic “The Garden of Earthly Delights” just before the Covid epidemic, I wanted to make a more positive, joyful piece. The CDP software was extended to create and transform rhythmic choral melodies so they could be modified in sung-text, melody, rhythm, tempo, and vocal articulation, and assembled into rhythmic chordal events.
HEKA is an innovative project that combines art, science, and technology to push the limits of creativity and innovation. Part of Pina, a Slovenian NGO with over 25 years in the cultural sector, HEKA creates a unique space where artists, scientists, and technologists can collaborate.
By thinking about electroacoustic practice as a craft and practitioners as artisans or crafters might it be easier to understand what people do? Might it also be easier to teach in an environment closer to a workshop and less like a classroom?
Transceiver is designed as a quadraphonic piece for two turntables. For the recordings, Aras L. Seyhan and Stefan Voglsinger went to various places and non-places in Vienna and the surrounding area. The release aims to encourage gathering, experimentation, and collective listening, reflecting the evolution of communication over distance.
Games that feel real? Spatial audio unlocks focus, emotions & deeper storytelling. Explore the tech & how atmoky brings it to life.
