Ī similar process is referred to by Robert Normandeau, who has developed the technique in numerous works in the last decade under the term “spectral diffusion” as an extreme variant of the spectral panning now available in such plug-ins as Izotope’s Spectron. This was achieved quite simply by successively un-muting different groups of fft bins in each speaker, using the Spectral Assistant in Tom Erbe’s SoundHack. At one moment in this piece an engine sound was gradually built up by introducing groups of partials located in four of the eight speakers, starting with a single partial, adding two more in a different location, and then adding ever larger groups of partials on each iteration of the sound, always in a different corner of the room. The primary aesthetic driving force for this composition was the dialogue between ambiguous transformed materials and the very obvious presence of the original sound sources in the space. In 1998 I created a site–specific sound installation at the Kew Bridge Steam Museum in London in which the processed sounds of steam engines were presented in a dialogue with their live counterparts in the space. The discussion locates the work within my wider research on navigable sonic structures. I will discuss technical aspects of the installations alongside the aesthetic aims, describing the research process and some conclusions that have been drawn from experiencing the works in situ. The former creates an essentially static listening environment, in which the listeners’ movements in space allow them to explore the inner structure of sound, while the latter focuses on the aural illusion that results from this approach, presenting decomposed speech as electronic “birdsong”, which is reconstructed by the brain into intelligible words. The two installations, The Exploded Sound (60 channels), presented at the Jacopic Gallery in Ljubljana as part of ICMC 2012, and Significant Birds (12 channels), first presented at the Science Gallery, Trinity College, Dublin as part of their ILLUSION exhibition, use similar techniques and modes of presentation to different ends. In this paper I discuss two recent sound installations that both explore a spectral sound diffusion technique based on partial tracking that allows individual partials of a sampled sound to occupy individual locations in space.
I will discuss technical aspects of the approach alongside the aesthetic aims, describing the research process and some conclusions that have been drawn from experiencing the works in situ. The two installations, The Exploded Sound (60 channels) and Significant Birds (12 channels), use similar techniques and modes of presentation to different ends. I discuss two recent sound installations that both explore a spectral sound diffusion technique based on partial tracking that allows individual partials of a sampled sound to occupy individual locations in space.
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