The EMPAC High-resolution Modular Loudspeaker Array for Wave Field Synthesis

Submitted by johnss3 on

In order to explore the perceptual potential and limitations of Wave Field Synthesis (WFS) for artistic productions, a WFS array was built with loudspeakers placed as closely together as possible. Knowing from experience, that the high-frequency noisy components found in consonants of speech and transients of instrumental sounds are important for sound localization, the question arose if their coherent presentation through WFS with a higher spatial aliasing frequency affects the localization.

EMPAC Unveils Newly Constructed 500-Channel “Wave Field Synthesis” Audio System

Submitted by pottej2 on

The Curtis R. Priem Experimental Media and Performing Arts Center (EMPAC) at Rensselaer recently debuted a unique new system that explores the relationship between sound and space. “Think of it like a pebble dropping into a pond,” says EMPAC’s lead audio engineer Todd Vos, describing the way a sound wave emanates from a speaker head. Now picture 500 tiny speakers arranged in a continuous ring around the room. As every one of those speakers casts sound into the room, the waves overlap and intersect, creating a dense, three-dimensional, immersive sound environment for a listener to explore.

Listening and Hearing

Submitted by pottej2 on

Considering differences between hearing and listening may lead to a particular perspective on the developments in media technology over the past 100 years. The technical reproduction of acoustic events, electronic processing, and synthesis of sounds affect all of us: listeners, composers, sound artists, musicians, producers, and media companies. The differentiation between hearing and listening I suggest may seem arbitrary.