This paper reflects on the delivery of a module in recording studio practice. The module is inten... more This paper reflects on the delivery of a module in recording studio practice. The module is intended to equip level 5 students with the necessary skills to undertake final year project work whilst introducing aspiring recording artists and music producers to a career in industry. These goals are compounded by the expectations of accreditation bodies that work in partnership with academic institutions to raise the standard of graduates entering into the business of music recording and production. Drawing on the authors’ educative experiences and observations the paper highlights the challenges posed by the tension between training and education, and investigates the potential for novel approaches to curriculum design
The GASP 'Guitars with Ambisonic Spatial Performance’ project seeks to demonstrate alternativ... more The GASP 'Guitars with Ambisonic Spatial Performance’ project seeks to demonstrate alternative ways in which various guitar performance styles can benefit from re-timbralisation and ambisonic spatial production techniques. GASP is an ongoing project where research into guitar performance utilising multiple individually processed string timbres, generated by our multichannel guitars, in conjunction with virtual guitar processing software, and processed ambisonically, provides scope for alternative performance and production techniques; more information on the GASP system at: http://tinyurl.com/GASP-Derb
The 2016 GASP v2 'Guitars with Ambisonic Spatial Performance' project seeks to demonstrat... more The 2016 GASP v2 'Guitars with Ambisonic Spatial Performance' project seeks to demonstrate alternative ways in which various guitar performance styles can benefit from re-timbralisation and ambisonic spatial production techniques. This poster was funded through the ‘Undergraduate Research Scholarship Scheme’ (URSS) and presented at the University of Derby Buxton Campus 12th Annual Learning & Teaching conference on Monday 4th July 2016. The poster was also utilised as a contribution to the Creative Technologies Research Group (CTRG) ‘Sounds in Space’ symposium held at the University of Derby on 28th June 2016, at which three pieces of multichannel guitar recordings were demonstrated
The term sound spatialisation indicates a group of techniques for organizing and manipulating the... more The term sound spatialisation indicates a group of techniques for organizing and manipulating the spatial projection and movement of sound in a physical or virtual listening environment (Valiquet, 2011). In addition to pitch, timbre, intensity and duration, an understanding of space is a significant musical parameter and as such, spatial sound controllers should be regarded as instruments of musical expression (Pysievficz and Weinzierl, 2016); spatialiser design should therefore include immediacy, liveness, and learnability. Perez-Lopez (2015) identifies several design considerations for spatialisation systems, including: Is the performer exclusively controlling spatial parameters (in contrast to one who controls both spatialisation and sound generation)? What is the required level of expertise for expressivity and virtuosity? Is the spatial control made by an individual, or shared by a group of performers? Does the system provide a graphical user interface for real time visual feed...
The 21st Century Guitar: Volume 1: Proceedings of The 21st Century Guitar Conference 2019 & 2021 Article 12, 2021
The GASP project investigates the design and realisation of an Immersive Guitar System. It brings... more The GASP project investigates the design and realisation of an Immersive Guitar System. It brings together a range of sound processing and spatialising technologies and applies them to a specific musical instrument ‒ the Electric Guitar. GASP is an ongoing innovative audio project, fusing the musical with the technical, combining the processing of each stringʼs output (which we called timbralisation) with spatial sound. It is also an artistic musical project, where space becomes a performance parameter, providing new experimental immersive sound production techniques for the guitarist and music producer. Several ways of reimagining the electric guitar as an immersive sounding instrument have been considered, the primary method using Ambisonics. However, additionally, some complementary performance and production techniques have emerged from the use of divided pickups, supporting both immersive live performance and studio post-production. GASP Live offers performers and audiences new real-time sonic-spatial perspectives, where the guitarist or a Live GASP producer can have real-time control of timbral, spatial, and other performance features, such as: timbral crossfading, switching of split-timbres across strings, spatial movement where Spatial Patterns may be selected and modulated, control of Spatial Tempo, and real-time performance re-tuning. For GASP recording and post-production, individual string note patterns may be visualised in Reaper DAW,2 from which, analyses and judgements can be made to inform post-production decisions for timbralisation and spatialisation. An appreciation of auditory grouping and perceptual streaming (Bregman, 1994) has informed GASP production ideas. For performance monitoring or recorded playback, the immersive audio would typically be heard over a circular array of loudspeakers, or over headphones with head-tracked binaural reproduction. This paper discusses the design of the system and its elements, investigates other applications of divided pickups, namely GASPʼs Guitarpeggiator, and reflects on productions made so far.
This paper reflects on the delivery of a module in recording studio practice. The module is inten... more This paper reflects on the delivery of a module in recording studio practice. The module is intended to equip level 5 students with the necessary skills to undertake final year project work whilst introducing aspiring recording artists and music producers to a career in industry. These goals are compounded by the expectations of accreditation bodies that work in partnership with academic institutions to raise the standard of graduates entering into the business of music recording and production. Drawing on the authors’ educative experiences and observations the paper highlights the challenges posed by the tension between training and education, and investigates the potential for novel approaches to curriculum design
The GASP 'Guitars with Ambisonic Spatial Performance’ project seeks to demonstrate alternativ... more The GASP 'Guitars with Ambisonic Spatial Performance’ project seeks to demonstrate alternative ways in which various guitar performance styles can benefit from re-timbralisation and ambisonic spatial production techniques. GASP is an ongoing project where research into guitar performance utilising multiple individually processed string timbres, generated by our multichannel guitars, in conjunction with virtual guitar processing software, and processed ambisonically, provides scope for alternative performance and production techniques; more information on the GASP system at: http://tinyurl.com/GASP-Derb
The 2016 GASP v2 'Guitars with Ambisonic Spatial Performance' project seeks to demonstrat... more The 2016 GASP v2 'Guitars with Ambisonic Spatial Performance' project seeks to demonstrate alternative ways in which various guitar performance styles can benefit from re-timbralisation and ambisonic spatial production techniques. This poster was funded through the ‘Undergraduate Research Scholarship Scheme’ (URSS) and presented at the University of Derby Buxton Campus 12th Annual Learning & Teaching conference on Monday 4th July 2016. The poster was also utilised as a contribution to the Creative Technologies Research Group (CTRG) ‘Sounds in Space’ symposium held at the University of Derby on 28th June 2016, at which three pieces of multichannel guitar recordings were demonstrated
The term sound spatialisation indicates a group of techniques for organizing and manipulating the... more The term sound spatialisation indicates a group of techniques for organizing and manipulating the spatial projection and movement of sound in a physical or virtual listening environment (Valiquet, 2011). In addition to pitch, timbre, intensity and duration, an understanding of space is a significant musical parameter and as such, spatial sound controllers should be regarded as instruments of musical expression (Pysievficz and Weinzierl, 2016); spatialiser design should therefore include immediacy, liveness, and learnability. Perez-Lopez (2015) identifies several design considerations for spatialisation systems, including: Is the performer exclusively controlling spatial parameters (in contrast to one who controls both spatialisation and sound generation)? What is the required level of expertise for expressivity and virtuosity? Is the spatial control made by an individual, or shared by a group of performers? Does the system provide a graphical user interface for real time visual feed...
The 21st Century Guitar: Volume 1: Proceedings of The 21st Century Guitar Conference 2019 & 2021 Article 12, 2021
The GASP project investigates the design and realisation of an Immersive Guitar System. It brings... more The GASP project investigates the design and realisation of an Immersive Guitar System. It brings together a range of sound processing and spatialising technologies and applies them to a specific musical instrument ‒ the Electric Guitar. GASP is an ongoing innovative audio project, fusing the musical with the technical, combining the processing of each stringʼs output (which we called timbralisation) with spatial sound. It is also an artistic musical project, where space becomes a performance parameter, providing new experimental immersive sound production techniques for the guitarist and music producer. Several ways of reimagining the electric guitar as an immersive sounding instrument have been considered, the primary method using Ambisonics. However, additionally, some complementary performance and production techniques have emerged from the use of divided pickups, supporting both immersive live performance and studio post-production. GASP Live offers performers and audiences new real-time sonic-spatial perspectives, where the guitarist or a Live GASP producer can have real-time control of timbral, spatial, and other performance features, such as: timbral crossfading, switching of split-timbres across strings, spatial movement where Spatial Patterns may be selected and modulated, control of Spatial Tempo, and real-time performance re-tuning. For GASP recording and post-production, individual string note patterns may be visualised in Reaper DAW,2 from which, analyses and judgements can be made to inform post-production decisions for timbralisation and spatialisation. An appreciation of auditory grouping and perceptual streaming (Bregman, 1994) has informed GASP production ideas. For performance monitoring or recorded playback, the immersive audio would typically be heard over a circular array of loudspeakers, or over headphones with head-tracked binaural reproduction. This paper discusses the design of the system and its elements, investigates other applications of divided pickups, namely GASPʼs Guitarpeggiator, and reflects on productions made so far.
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circular array of loudspeakers, or over headphones with head-tracked binaural reproduction. This paper discusses the design of the system and its elements, investigates other applications of divided pickups, namely GASPʼs Guitarpeggiator, and reflects on productions made so far.
circular array of loudspeakers, or over headphones with head-tracked binaural reproduction. This paper discusses the design of the system and its elements, investigates other applications of divided pickups, namely GASPʼs Guitarpeggiator, and reflects on productions made so far.