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authorDavid Runge <dave@sleepmap.de>2017-07-20 00:23:03 +0200
committerDavid Runge <dave@sleepmap.de>2017-07-20 00:23:03 +0200
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thesis/thesis.tex: Adding Halaphon example to introduction. Removing too specific licensing information from introduction.
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@@ -326,20 +326,42 @@ parskip=never]{paper}
not applicable in the case of dynamic setups, reacting to user input in
realtime.\\
- Generally, software can be divided into two groups: One, which is developed
- freely and open-source (see~\ref{subsec:whyfreesoftwarematters}) and the
- other, which is developed non-free, also known as closed-source. Both types
- are usually covered by a license, explicitely describing the rights of its
- end-user. In scientific research, free software is usually preferred, due
- to its ease of reproducability (the sources can be retrieved, modified and
- used, free of charge).\\
+ Early dedicated hardware implementations, such as the \textit{Halaphon},
+ designed by Hans Peter Haller and Peter Lawo
+ \citep[p.78f]{HansPeterHaller1995}, started out as basic spatial dispersion
+ systems for quadrophonic loudspeaker setups, based on amplitude pannings
+ using envelopes. Due to huge interest from artists in this new technique,
+ these systems were soon expanded to cope with eight and more channels.\\
+ A notable piece, making use of a later revision of the \textit{Halaphon},
+ is Luigi Nono's \textit{Prometeo}. For it, the componist developed the
+ \textit{coro lantissimo}: A choir singing at a great distance. To achieve
+ the effect --- in a usually very dampened orchestra house --- the
+ spatialization system was used to add between eight to 15 seconds of
+ reverberation time in the prolog and up to 20 seconds in the second part of
+ the piece. This enabled a sung \textit{fivefold pianissimo} and a
+ \textit{triple pianissimo} (respectively) to be perceived as coming from a
+ larger distance than the room's dimension \citep[p.
+ 91f]{HansPeterHaller1995}.\\
+ This early example of a spatial audio renderer already illustrates the
+ close vicinity of applied scientific research in experimental electronic
+ music studios and that of artistic work, facilitating live electronics.\\
+
+ With the fast technological development of computer systems, the dedicated
+ solutions shifted more into the digital domain and finally towards software
+ solutions. This effectively allowed a stronger focus on specializing and
+ refining the algorithms in use.\\
Spatial audio rendering software exists for different \glspl{os}, in
several stages of completeness and feature richness, while covered by free
- and non-free licenses. The following work will focus on free software, used
- in scientific research and artistic contexts. Several spatial audio
- renderers, currently in use, were evaluated and compared, of which one was
- chosen for extension.\\
+ (see~\ref{subsec:whyfreesoftwarematters}) and non-free licenses. The
+ following work focusses on free software, used in scientific research and
+ artistic contexts. Several spatial audio renderers, currently in use, were
+ evaluated and compared (see~\ref{sec:freespatialaudiorenderers}), of which
+ one was chosen for extension.\\
+ Some spatial audio renderers are single-purpose applications, conceived for
+ a specific (and often quite rare) loudspeaker setup, such as those used for
+ \gls{wfs} or \gls{hoa}. An examle of this is the large scale system at
+ \gls{tu-berlin} \citep{website:tu-wfs} or HAW Hamburg.
The \gls{ssr} is a multi-purpose spatial audio renderer, developed at the
\gls{tu-berlin}. To improve its usability and networking capabilities, a