Editors’ Notes

This is the first of two CMJ issues devoted to the topic of computer music for high-density loudspeaker arrays (HDLAs). HDLA computer music is a subset of spatial computer music, which ranges in scale from the intimacy of headphone-based binaural music to the grandeur of large, outdoor multichannel sound installations. Within the larger framework of spatial audio, HDLA computer music occupies a promising location. Its high density of loudspeakers can deliver unique spatial audio effects in a controlled environment that cannot be reproduced on lower-order loudspeaker arrays. This special affordance encourages us to envision new ways to create and experience computer music.

These two HDLA issues of CMJ are both timely and speculative. Most of today’s HDLA facilities were designed and built in the 21st century. Audio spatialization is a topic of increasing interest, both in the research domain (with an increasing number of publications on audio spatialization) and in the entertainment industry (where an increased interest in immersive experiences has motivated the development of multichannel audio systems such as Atmos for cinema, which supports up to 64 loudspeakers). The HDLA topic was initially planned for a single special issue of CMJ. We received enough high-quality HDLA-focused articles, however, to require expanding to a two-part series. In addition to the HDLA-focused articles published here, several strong articles on audio spatialization were submitted that were less focused on HDLAs, but that will make significant contributions to spatial computer music when published outside of this series. On the creative side, there is an increasing interest in presenting HDLA computer music at festivals such as BEAST FEaST at Birmingham University, MANTIS at Manchester University, Cube Fest at Virginia Tech, and InSonic at ZKM.

Despite all of this recent activity in the HDLA space, the area remains speculative. Most of the activity is taking place in relatively few institutions that support HDLA facilities. Although there are grounds for optimism regarding the future of HDLA computer music, its current practice is far from the ubiquity that has been achieved for stereo computer music. The value of HDLAs remains to be proven, which makes this an exciting time for HDLA researchers, with room for technological innovation, compositional experimentation, public outreach, and a need for the development of software to facilitate the creation of HDLA computer music.

This first HDLA issue focuses on institutions that support and facilitate the development of HDLA music. This focus is guided by the historical context for HDLA music. Today, stereo computer music can be created on ubiquitous, inexpensive commercial computers. But during the 1960s and 1970s, computer music research could only be pursued at a small number of institutions on expensive, special-purpose hardware. At that stage in computer music history, the support of institutions served as a crucial incubator for the development of the widespread computer music culture that we currently enjoy.

A similar historical process could be observed in the development of electronic music, where most of the early work was achieved at a small number of electronic music studios such as the Office de Radiodiffusion-Télévision Française (ORTF) in Paris, the Westdeutscher Rundfunk (WDR) in Cologne, and the Studio di Fonologia Musicale in Milan. The historical parallels are suggestive, but there is an important distinction to be made between stereo electronic music (including stereo computer music) and HDLA computer music. The output from electronic and computer music studios is a standardized, widely distributable product: a stereo recording on a fixed medium. By contrast, HDLA computer music produces experiences that can be difficult to transport to different locations. But even here we can be optimistic, given the current interest in creating rich, immersive experiences for mass audiences in the popular domains of cinema and gaming. Near-exact reproduction might not be necessary for the success of HDLA computer music.

About the Articles

This issue opens with an article by Carpentier, Barrett, Gottfried, and Noisternig covering technological and aesthetic practices at IRCAM’s Espace de Projection (Espro), which features a 350-loudspeaker HDLA. Information is provided on the architecture, audio hardware, rendering system, and spatial sound strategies used at Espro. The technological report...