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MIAP: Manifold-Interface Amplitude Panning in Max/MSP and Pure Data
Zachary Seldess Senior Audio Research Engineer
Sonic Arts R&D, Qualcomm Institute University of California, San Diego
MIAP website: http://www.zacharyseldess.com/miap
MIAP (Manifold-Interface Amplitude Panning)
Dr. David Worrall, director
1986: Canberra, Australia• Steve Ellison began work on a real-time computer music
composition system for a polymedia performance space by “Floating Exceptions”.http://worrall.avatar.com.au/pipes/
polymedia dome
MIAP (Manifold-Interface Amplitude Panning)
• Ellison needed a computationally efficient method to compute gains for loudspeakers placed at vertices of dome.
MIAP (Manifold-Interface Amplitude Panning)
• Ellison needed a computationally efficient method to compute gains for loudspeakers placed at vertices of dome.
• Influenced by triangular speaker configuration, he invented a novel amplitude panning algorithm using barycentric coordinates to derive power-preserving speaker gains for loudspeaker triplets.
MIAP (Manifold-Interface Amplitude Panning)
1. Normalize the areas of all sub-triangles. 2. Apply the square root of each normalized sub-triangle area
as a gain value to the node of the parent triangle not included in that sub-triangle.
Barycentric Triset Panning:"
A
B C
P
2/3
1/6 1/6
gains per node: A = √(2/3) = 0.8165 B = √(1/6) = 0.4082 C = √(1/6) = 0.4082
MIAP (Manifold-Interface Amplitude Panning)
• Software implementation of algorithm originally called "SpaceNodes", later renamed “SpaceMap(R)".
• First commercial iteration in the early 1990s.
• Authoring, control constructs, and GUI underwent several practically-driven improvements over next two decades.
• Used by a generation of sound designers working in large-scale spectacle shows such as Cirque Du Soleil, Disney Theme Parks Exhibits, etc.
MIAP (Manifold-Interface Amplitude Panning)
MIAP (Manifold-Interface Amplitude Panning)
Historical Significance:
in custom built Max or Processing patches. Whilst thus far both versions of Chronus have only being used with the authors custom built software, given that the inter-faces itself just sends standard polar coordinates it could easily be used in conjunction with the VBAP object in Max, or any other spatialisation system. This modularity was one of the main design features of the Chronus se-ries; it should be easy for any diffusion artist to adapt to the new interface without limiting or affecting their cur-rent spatialisation system.
Figure 3. Timeline of significant Diffusion Systems
6. CONCLUSIONS Diffusion systems and performances have come a long way since their conception in the 1940s. Whilst the con-cert setting, the speaker orchestra and the performance interface have all undergone significant change, diffusion has remained a primary form for performance of multi-channel acoustmatic works. Influenced by the advance-ment of spatialisation algorithms through the 80s and 90s, the most prominent current trend is the design of custom user interfaces for performance practice.
New user interfaces have emerged across the field and taken many forms, however there are common design goals in mind. These new interfaces have a focus on
transparency in gestural relationships to sonic trajecto-ries, and the increasing of performance spatial motions. New software has being developed in order to make the most of these new interfaces, with some systems follow-ing the direction of giving the system some autonomy to increase the potential of complex trajectories.
Amongst all the turns the paradigm of diffusion per-formance has taken the original goals of diffusion are still the driving force of all development; to increase the com-posers aesthetic engagement with space.
Acknowledgments
The authors would like to thank Victoria University of Wellington and the New Zealand School of Music for supporting this research. Also Dugal McKinnon and Flo-rian Holleweger for sharing their expertise and experi-ence.
7. REFERENCES [1] N. Barrett, “Trends In Electro-acoustic Music,” in
The Cambridge Guide to Electronic Music, N. Collins and J. d’ Escrivan, Eds. New York, United States of America: Cambridge University Press, 2007.
[2] S. Desantos,, C. Roads, and F. Bayle, “Acousmatic Morphology: An Interview with Franc ̧ois Bayle,” Comput. Music J. MIT Press, vol. 21, no. 3, pp. 11–19, 1997.
[3] C. Clozier, “The Gmebaphone Concept and Cy-bernephone Instrument,” Comput. Music J., vol. 25, no. 4, pp. 81–90, 2001.
[4] J. Harrison, “Diffusion: theories and practices, with particular reference to the BEAST system,” eCon-tact, vol. 2.4, 1999.
[5] S. Emmerson, “Diffusion Projection: The Grain of the Loudspeaker,” in Living Electronic Music, Hampshire, England: Ashgate Publishing Limited, 2007.
[6] D. Griesinger, “Stereo and Surround Panning In Practice,” in Audio Engineering Society Conven-tion Paper, Munich, Germany, 2002.
[7] V. Pulkki, “Virtual source positioning using vector base amplitude panning,” J. Audio Eng. Soc., vol. 45, no. 6, pp. 456–466, 1997.
[8] L. Austin, “Sound Diffusion in Composition and Performance: An Interview with Denis Smalley,” Comput. Music J. MIT Press, vol. 24, no. 2, pp. 10–21, 2002.
[9] D. Kim-Boyle, “Sound Spatialization with Particle Systems,” in Proceedings of the 8th International Conference of Digital Audio Effects, Madrid, Spain, 2005.
[10] M. Norris and J. Post, “SPIN/DRIFT: A Real-Time Spatialized Granular Synthesis Algorithm with Par-ticle System Physic and Bahviours,” in Proceed-ings of International Computer Music Conference, Perth, Aus, 2013.
[11] J. Harrison and S. Wilson, “Rethinking the BEAST: Recent developments in multichannel composition at Birmingham ElectroAcoustic Sound
SpaceMap
• Essentially unknown outside of theatrical sound design community
MIAP (Manifold-Interface Amplitude Panning)
Historical Significance:
in custom built Max or Processing patches. Whilst thus far both versions of Chronus have only being used with the authors custom built software, given that the inter-faces itself just sends standard polar coordinates it could easily be used in conjunction with the VBAP object in Max, or any other spatialisation system. This modularity was one of the main design features of the Chronus se-ries; it should be easy for any diffusion artist to adapt to the new interface without limiting or affecting their cur-rent spatialisation system.
Figure 3. Timeline of significant Diffusion Systems
6. CONCLUSIONS Diffusion systems and performances have come a long way since their conception in the 1940s. Whilst the con-cert setting, the speaker orchestra and the performance interface have all undergone significant change, diffusion has remained a primary form for performance of multi-channel acoustmatic works. Influenced by the advance-ment of spatialisation algorithms through the 80s and 90s, the most prominent current trend is the design of custom user interfaces for performance practice.
New user interfaces have emerged across the field and taken many forms, however there are common design goals in mind. These new interfaces have a focus on
transparency in gestural relationships to sonic trajecto-ries, and the increasing of performance spatial motions. New software has being developed in order to make the most of these new interfaces, with some systems follow-ing the direction of giving the system some autonomy to increase the potential of complex trajectories.
Amongst all the turns the paradigm of diffusion per-formance has taken the original goals of diffusion are still the driving force of all development; to increase the com-posers aesthetic engagement with space.
Acknowledgments
The authors would like to thank Victoria University of Wellington and the New Zealand School of Music for supporting this research. Also Dugal McKinnon and Flo-rian Holleweger for sharing their expertise and experi-ence.
7. REFERENCES [1] N. Barrett, “Trends In Electro-acoustic Music,” in
The Cambridge Guide to Electronic Music, N. Collins and J. d’ Escrivan, Eds. New York, United States of America: Cambridge University Press, 2007.
[2] S. Desantos,, C. Roads, and F. Bayle, “Acousmatic Morphology: An Interview with Franc ̧ois Bayle,” Comput. Music J. MIT Press, vol. 21, no. 3, pp. 11–19, 1997.
[3] C. Clozier, “The Gmebaphone Concept and Cy-bernephone Instrument,” Comput. Music J., vol. 25, no. 4, pp. 81–90, 2001.
[4] J. Harrison, “Diffusion: theories and practices, with particular reference to the BEAST system,” eCon-tact, vol. 2.4, 1999.
[5] S. Emmerson, “Diffusion Projection: The Grain of the Loudspeaker,” in Living Electronic Music, Hampshire, England: Ashgate Publishing Limited, 2007.
[6] D. Griesinger, “Stereo and Surround Panning In Practice,” in Audio Engineering Society Conven-tion Paper, Munich, Germany, 2002.
[7] V. Pulkki, “Virtual source positioning using vector base amplitude panning,” J. Audio Eng. Soc., vol. 45, no. 6, pp. 456–466, 1997.
[8] L. Austin, “Sound Diffusion in Composition and Performance: An Interview with Denis Smalley,” Comput. Music J. MIT Press, vol. 24, no. 2, pp. 10–21, 2002.
[9] D. Kim-Boyle, “Sound Spatialization with Particle Systems,” in Proceedings of the 8th International Conference of Digital Audio Effects, Madrid, Spain, 2005.
[10] M. Norris and J. Post, “SPIN/DRIFT: A Real-Time Spatialized Granular Synthesis Algorithm with Par-ticle System Physic and Bahviours,” in Proceed-ings of International Computer Music Conference, Perth, Aus, 2013.
[11] J. Harrison and S. Wilson, “Rethinking the BEAST: Recent developments in multichannel composition at Birmingham ElectroAcoustic Sound
SpaceMap• Only scholarly mention of
Ellison’s barycentric panning is found in a single sentence of Ville Pulkki’s 2001 dissertation on Vector-base amplitude panning.
MIAP (Manifold-Interface Amplitude Panning)
Historical Significance:
in custom built Max or Processing patches. Whilst thus far both versions of Chronus have only being used with the authors custom built software, given that the inter-faces itself just sends standard polar coordinates it could easily be used in conjunction with the VBAP object in Max, or any other spatialisation system. This modularity was one of the main design features of the Chronus se-ries; it should be easy for any diffusion artist to adapt to the new interface without limiting or affecting their cur-rent spatialisation system.
Figure 3. Timeline of significant Diffusion Systems
6. CONCLUSIONS Diffusion systems and performances have come a long way since their conception in the 1940s. Whilst the con-cert setting, the speaker orchestra and the performance interface have all undergone significant change, diffusion has remained a primary form for performance of multi-channel acoustmatic works. Influenced by the advance-ment of spatialisation algorithms through the 80s and 90s, the most prominent current trend is the design of custom user interfaces for performance practice.
New user interfaces have emerged across the field and taken many forms, however there are common design goals in mind. These new interfaces have a focus on
transparency in gestural relationships to sonic trajecto-ries, and the increasing of performance spatial motions. New software has being developed in order to make the most of these new interfaces, with some systems follow-ing the direction of giving the system some autonomy to increase the potential of complex trajectories.
Amongst all the turns the paradigm of diffusion per-formance has taken the original goals of diffusion are still the driving force of all development; to increase the com-posers aesthetic engagement with space.
Acknowledgments
The authors would like to thank Victoria University of Wellington and the New Zealand School of Music for supporting this research. Also Dugal McKinnon and Flo-rian Holleweger for sharing their expertise and experi-ence.
7. REFERENCES [1] N. Barrett, “Trends In Electro-acoustic Music,” in
The Cambridge Guide to Electronic Music, N. Collins and J. d’ Escrivan, Eds. New York, United States of America: Cambridge University Press, 2007.
[2] S. Desantos,, C. Roads, and F. Bayle, “Acousmatic Morphology: An Interview with Franc ̧ois Bayle,” Comput. Music J. MIT Press, vol. 21, no. 3, pp. 11–19, 1997.
[3] C. Clozier, “The Gmebaphone Concept and Cy-bernephone Instrument,” Comput. Music J., vol. 25, no. 4, pp. 81–90, 2001.
[4] J. Harrison, “Diffusion: theories and practices, with particular reference to the BEAST system,” eCon-tact, vol. 2.4, 1999.
[5] S. Emmerson, “Diffusion Projection: The Grain of the Loudspeaker,” in Living Electronic Music, Hampshire, England: Ashgate Publishing Limited, 2007.
[6] D. Griesinger, “Stereo and Surround Panning In Practice,” in Audio Engineering Society Conven-tion Paper, Munich, Germany, 2002.
[7] V. Pulkki, “Virtual source positioning using vector base amplitude panning,” J. Audio Eng. Soc., vol. 45, no. 6, pp. 456–466, 1997.
[8] L. Austin, “Sound Diffusion in Composition and Performance: An Interview with Denis Smalley,” Comput. Music J. MIT Press, vol. 24, no. 2, pp. 10–21, 2002.
[9] D. Kim-Boyle, “Sound Spatialization with Particle Systems,” in Proceedings of the 8th International Conference of Digital Audio Effects, Madrid, Spain, 2005.
[10] M. Norris and J. Post, “SPIN/DRIFT: A Real-Time Spatialized Granular Synthesis Algorithm with Par-ticle System Physic and Bahviours,” in Proceed-ings of International Computer Music Conference, Perth, Aus, 2013.
[11] J. Harrison and S. Wilson, “Rethinking the BEAST: Recent developments in multichannel composition at Birmingham ElectroAcoustic Sound
SpaceMap• Fascinating example of a
stable, codified tool for spatial sound design developed entirely out of practical necessities… as opposed to more academic notions of “what would be ideal”.
• The only example of its kind? (Tell me if you know of another)
MIAP (Manifold-Interface Amplitude Panning)
“Centric” Model:Practical / Artistic Significance:"
ZKM Klangdom
• Sound spatialization approaches, such as Vector-base amplitude panning and Ambisonics, treat the authoring of spatial sound essentially as an act of augmenting the aural environment of an idealized listening area, or “sweet-spot”.
MIAP (Manifold-Interface Amplitude Panning)
“Centric” Model:Practical / Artistic Significance:"
• Model works for wide range of use-cases. !• Provides a vehicle for authoring sound without requiring that
the author consider the mechanisms by which the sound will be realized.
KAUST “Cornea” 20.4ch VR CAVE
MIAP (Manifold-Interface Amplitude Panning)
Assumptions of the “Centric” Model:
1. Loudspeakers must be equidistant from the assumed listening area.
(possibly remedied via delays, attenuation, and/or EQ)
MIAP (Manifold-Interface Amplitude Panning)
Assumptions of the “Centric” Model:
1. Loudspeakers must be equidistant from the assumed listening area.
(possibly remedied via delays, attenuation, and/or EQ)!
2. Loudspeakers must be angled in towards a converging listener “sweet-spot”.
MIAP (Manifold-Interface Amplitude Panning)
Assumptions of the “Centric” Model:
1. Loudspeakers must be equidistant from the assumed listening area.
(possibly remedied via delays, attenuation, and/or EQ)
• These constraints may be in conflict with realities of many loudspeaker setups, such as can be found in the realms of site-specific sound art installation, and large-scale theatrical sound spectacle.
!2. Loudspeakers must be angled in towards a converging
listener “sweet-spot”.
MIAP (Manifold-Interface Amplitude Panning)
Non-Centricity in SpaceMap:• How to foreground the rendering mechanisms of given
setup without anchoring the language of the tool on a listener origin (i.e. “sweet spot”)?
MIAP (Manifold-Interface Amplitude Panning)
Non-Centricity in SpaceMap:• How to foreground the rendering mechanisms of given
setup without anchoring the language of the tool on a listener origin (i.e. “sweet spot”)?
Ellison’s Solution: • Abstract the speaker-speaker and speaker-listener
relationships away from real-space, and redefine those relationships on a two-dimensional topological space, also known as a manifold.
Two-dimensional manifolds are called surfaces or
maps
MIAP (Manifold-Interface Amplitude Panning)
“A SpaceMap design is constructed from two basic elements: nodes and trisets. Nodes commonly represent the positions of loudspeakers or groups of speakers, and may be of several types. Trisets link three nodes together, providing the means
to distribute signal proportionally among them.”
From Meyer Sound’s CueStation User Guide:
MIAP (Manifold-Interface Amplitude Panning)
Elements of SpaceMap:• single speakers
(Speaker Node) !• groups of speakers
(Virtual Node) !• points of silence
(Silent Node) !• single speakers with
derived audio source (Derived Node)
A map with all four node types
Demonstration of SpaceMap Concepts via MIAP Software
MIAP (Manifold-Interface Amplitude Panning)
MIAP = Manifold-Interface Amplitude Panning• Suite of externals for MaxMSP and Pure Data that provides an
expanded implementation of SpaceMap functionality.
• Serves as a vehicle for the exploration of new applications/implementations of the “manifold-interface” approach.
MIP?? (Manifold-Interface Panning)
MIAP.map
MIAP (Manifold-Interface Amplitude Panning)
MIAP and MIAP~• Read, write, interact with maps (stored in JSON format).
• Create and edit maps.
• Pan between maps
• Adjust node/map properties (e.g. global divergence, map panning curve, silent node weighting, etc.)
MIAP (Manifold-Interface Amplitude Panning)
MIAP.map• Bind to and display maps in MIAP/MIAP~ panner objects
• Visually navigate and control maps
• Adjust display of map information (e.g. node trims, etc.)
• Adjust appearance of map elements (e.g. node size, etc.)
MIAP (Manifold-Interface Amplitude Panning)
MIAP.meyer
• Convert maps and trajectories from Meyer’s D-Mitri and Matrix3 project file format to MIAP-native JSON files
MIAP (Manifold-Interface Amplitude Panning)
Next Steps:• Create MIAP.map object for Pure Data
• Add intuitive GUI-based map authoring in MIAP.map
• Expand algorithm beyond triangular sets (e.g. Christian Borß’ “Edge-Fading Amplitude Panning”)
• Expand use of barycentric coordinates to 3 dimensions (e.g. tetrahedrons vs. triangles)
THANK YOU!
Download the software (it’s free!): http://www.zacharyseldess.com/miap
contact: [email protected]
Special thanks to Steve Ellison, Jeremy Friesner, Richard Bugg, and everyone at Meyer Sound
Laboratories, Inc. for their generous assistance
