[80c] LAC 2012

Tom Keene tom at theanthillsocial.co.uk
Sat Apr 14 12:54:05 CEST 2012

> Yes, I agree, and it is kindof a shame. But then, you pretty much need
> a lot of kit by definition, so maybe it's inherently exclusive?
In relation to expensive kit,I was wondering if anybody knew of a FLOSS hardware project for making/hacking together an 8 channel DAC?

I found this chip, though not any projects using it: 


On 13 Apr 2012, at 11:11, Dan S wrote:

> 2012/4/13 alex <alex at slab.org>:
>> To merge the threads a little bit, it was interesting seeing the
>> connection between a beginners pathway into a culture and diversity,
>> shown in the python community.
>> Sound diffusion seems to me to be an area with no beginners pathway
>> apart from the academic pathway, and perhaps as a result a lack of
>> diversity comparable with computer science.  It seems very
>> institutionalised, with a strong grip on the computer music community.
> Yes, I agree, and it is kindof a shame. But then, you pretty much need
> a lot of kit by definition, so maybe it's inherently exclusive?
> Techniques like Ambisonics start from an idealised version of the
> acoustic space, and then the real acoustic space has to be prepared
> very hard to make it resemble it. That tends to turn it into an
> institutionalised practice. I know specific people in BBC R&D who are
> trying to do useful spatalised sound that can work in some kind of
> "ordinary" living room (i.e. that doesn't have to be acoustically dry
> etc).
> I'd like to see homebrew 3d audio becoming easier for entry-level.
> (but actually because of the amount of kit involved I'm personally not
> interested. I don't really want that many speakers in my living
> space.) It's possible that it needs slightly different techniques (as
> with the suspicion I've already voiced). VBAP is just a fancy form of
> amplitude-panning so maybe it's robust.
>>  Therefore I see the link between free software culture and sound
>> diffusion as problematic, although it would be great if there was a
>> solution...
>> As an aside, I've been interested in treating speakers as discrete,
>> with different patterns playing in each one.  It works great in
>> stereo, not sure how far that approach scales.
> I saw a great piece by Ron Kuivila that did that. It was 8 speakers
> arbitrarily positioned, and each one had different sort of explosive
> sounds in it. It was like a firework display, in a good way.
>>  This approach gets
>> away from the weird electroacoustic focal point on the person at the
>> mixing desk, where everyone else gets a substandard listening point.
>> Why doesn't the sound diffusionist and their audience instead move
>> around the space during the performance, exploring contrasts between
>> different channels for themselves?
> Yep. The BEAST crew do things like that.
>> This is what I tried a little bit at my first multichannel
>> (quadrophonic) performance in a cinema recently, using a wireless
>> keyboard and the cinema projection as my screen.  The audience got in
>> the way a bit though so I sat at the front for most of it :)
> Seems like cinemas are good in a lot of ways. But all that fixed seating! Bah!
> Dan
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Tom Keene
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