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Immersive Hypperreal Soundscapes: applying practice-based methods to interrogate novel multichannel sound formats.

Immersive Hypperreal Soundscapes: applying practice-based methods to interrogate novel multichannel sound formats.

Hill, Andrew ORCID: 0000-0003-1521-0396, Fairfield, Paula and Martin, Brona (2019) Immersive Hypperreal Soundscapes: applying practice-based methods to interrogate novel multichannel sound formats. [Show/Exhibition]

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Video (MP4) (Immersive Hypperreal Soundscapes - Project Overview)
27883 KNIGHT-HILL_Immersive_Hypperreal_Soundscapes_2019_(i).mp4 - Published Version
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Video (MP4) (Immersive Hypperreal Soundscapes - Paula Fairfield Interview)
27883 KNIGHT-HILL_Immersive_Hypperreal_Soundscapes_2019_(ii).mp4 - Published Version
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Video (MP4) (Immersive Hypperreal Soundscapes - Adapting Stille Lyd)
27883 KNIGHT-HILL_Immersive_Hypperreal_Soundscapes_2019_(iii).mp4 - Published Version
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Video (MP4) (Immersive Hypperreal Soundscapes - Trumpet and Electronics)
27883 KNIGHT-HILL_Immersive_Hypperreal_Soundscapes_2019_(iv).mp4 - Published Version
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Abstract

A collaborative project between the Sound Design at Greenwich and industry partner L-ISA (a division of L Acoustics), engaging international Sound Artist Brona Martin and Hollywood Sound Designer Paula Fairfield, to investigate the potentials in novel multichannel technologies (the L-ISA system) for the construction of immersive sonic experiences.

Practice methodologies were applied to reveal through action, the possibilities inherent in novel object based audio systems (such as the L Acoustics L-ISA) and the creative workflows available for adapting linear timeline-based compositions towards new object-based panning systems. Existing works, composed in a range of “traditional” multichannel formats (stereo, 5.1, 8 channel, ambisonic), were adapted for public exhibition via the new object-based L-ISA system.

Qualitative response data from both contributors and audiences was used to assess and evaluate the approaches and challenges inherent in making this transition between a range of multichannel mixing formats. The process of adapting existing works was compared and contrasted with the development of new original works for the system. Comparing and contrasting workflow approaches, from both adaptation and novel composition of works, allowed exposition of a wide range of possible approaches in immersive soundscape composition, and evaluation of the relative merits of the different approaches.

Data collection from audiences at the public events was used evaluate the effectiveness of the multichannel experiences and imbricated with reflections from creative practitioners.

In order to reflect a wide range aesthetic styles and varied creative workflows, it was essential to bring in artists and professionals working in a range of different media formats and creative industries. Paula Fairfield (LOST, Game of Thrones) brought perspectives from Hollywood sound design, Brona Martin her experiences in multichannel sound art and installation formats and Andrew Knight-Hill perspectives from electroacoustic music composition.

Outputs were disseminated via public exhibition at the Highgate studios / lab of L-Acoustics L-ISA team, at a public talk to creative industry professionals (hosted by the Association of Motion Picture Sound) and through video documentaries.

Beneficiaries include engineers and developers of multichannel audio systems, post-production sound professionals, student composers engaged in the project and composers and sound artists engaging in multichannel composition.

Item Type: Show/Exhibition
Additional Information: Participant Details: Paula Fairfield – Multiple Emmy Award winning Sound Designer (Game of Thrones, LOST), Fairfield has an established relationship with the university, having presented a public lecture and field recording workshop with students (and is also a potential candidate for a Visiting Professorship). Her engagement with the project will provide the perspective from high end post-production workflow in cinema and television with a strong dramatic and textural basis for her creative work. Her involvement with the project also provides invaluable opportunity for publicity and dissemination of the partnership as the final delivery of this project will coinciding with the release of the final season of Game of Thrones (a significant media event) which can capitalised upon. Paula will develop an original multichannel composition “Ocean of Tears” for the L-ISA system as a commission from the University of Greenwich. Brona Martin – International Sound Artist and Electroacoustic composer, Martin’s work engages with found sound and spoken word, weaving intricate tapestries of sound that evoke memory and forgotten soundscapes. Martin will develop a new work as part of a commission from University of Greenwich, and will also adapt some of her existing works for the L-ISA system. Martin’s contributions to the project will engage the Sound Arts community and provide a contrasting aesthetic of soundscape, field recording and oral histories to the project. She works with oral histories and spoken word thus providing the perspective of language influenced workflows and field soundscape recordings. Her previous experiences in eight and twelve channel stem-based composition approaches provides another workflow perspective to the research.
Uncontrolled Keywords: spatial audio, surround sound, immersive media, electroacoustic music, sound art, ambisonics, object based audio.
Subjects: M Music and Books on Music > M Music
N Fine Arts > N Visual arts (General) For photography, see TR
Faculty / Department / Research Group: Faculty of Liberal Arts & Sciences
Faculty of Liberal Arts & Sciences > Department of Creative Professions & Digital Arts
Last Modified: 01 May 2020 09:12
Selected for GREAT 2016: None
Selected for GREAT 2017: None
Selected for GREAT 2018: None
Selected for GREAT 2019: None
Selected for REF2021: REF 6
URI: http://gala.gre.ac.uk/id/eprint/27883

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