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diff --git a/thesis/thesis.tex b/thesis/thesis.tex index d488c84..7c993a9 100644 --- a/thesis/thesis.tex +++ b/thesis/thesis.tex @@ -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 |