Interface[s] Montréal

Digital Sound

Zack Zettel

Society for Arts and Technology

Audiotwist

View the presentation [In English]

For years, the level of sophistication of computer graphics in desktop computing has remained well ahead that of the audio world. While there have been some important initial contributions in 3D audio, such as Direct-X (MicroSoft), or OpenAL (open source), the current generation of 3D audio software is rather limited to sound source simulation (surround sound) and gameing applications; and the demands of immersive audio applications (e.g. virtual reality, acoustic modeling, advance teleprence etc…) clearly exceed the capeabilities of this current generation. On the other hand, the world of computer graphics has seen significant development in 3D modeling technology, such as OpenGL–a core technology for immersive audiovisual applications. And there has been much research done in the area of 3D acoustic modeling. Our intention is to develop a 3D audio framework that provides necessary audio support for immersive audio applications.

AudioTwist is a model-based 3D audio framework that provides full support for immersive audio applications, ranging from 3D sound applications and utilities, to developers’ APIs (applications programming interfaces) for the seamless integration of 3D sound in immersive graphics environments. At its core, AudioTwist provides low and high-level immersive audio libraries/resources for application building, and will include a data-base (acoustic models), data structures and methods for sound source/sink simulation, acoustic modeling, content (sound object) development, and (external) sensor integration. AudioTwist will provide an approach and methods for artists creating works, and for developers building immersive audio/audiovisual applications. Specifically, we will develop a model-based framework for audio processing, where sound sources and sound sinks have behaviors (based on physics) and geometric representations as sound objects in 3D space. Using this framework, we will develop various advanced applications for Immersive Audio (navigable “audioscapes”), extended surround-sound production (multiple sound-source/sink simulation) , virtual audio performance spaces, and shared-environment audio immersion (distributed multi-party musical chat). These applications are intended for use in immersive environments, such as the SAT[osphere], the Cyclo, Cyclo, the Cave or others.

Zack Settel (DMA Music Comp. University of Montreal 2002) studied composition with Mortons Subotnick and Feldman. Keenly interested in the use of technology in music production/performance, Settel received a Fulbright Scholarship in 1986 to work at the Institute for Research and the Coordination of Acoustics and Music (IRCAM, Paris France), headed by Pierre Boulez. After a two-year composing residency there, Settel remained for five years working for the music production and audio research groups. In 1997 he returned to North America as a professor at McGill University (Montreal) for two years, chairing the Music Technology area and teaching courses and graduate seminars in computer music. He also taught composition at the University of Montreal in 2001-02. Settel chaired the Audio Engineering Society’s (AES) Network Audio technical committee for three years (’98-’01). Currently, Settel is composing and working on immersive audio/music in (arts/science) collaboration with the Center for Intelligent Machines at McGill University, and at the Society for Arts and Technology [SAT] in Montreal, where he directs the Open Territories immersive audio Group.