Towards open 3D multichannel sound diffusion

systems

Fernando Lpez Lezcano

Center for Computer Research in Music and Acoustics
(CCRMA), Stanford University

(C) Fernando Lopez-Lezcano 2013

EMW 2013
 diffusion systems
what I won't talk about:
how to compose for 2D/3D large scale systems
(techniques, tools)
challenges faced when the venue size grows
how to curate and compose a concert
details about the various subsystems

(C) Fernando Lopez-Lezcano 2013

EMW 2013
 diffusion systems
two main types:
transparent systems, they try to create or recreate
a sound field
loudspeaker orchestras, the speakers are the
instruments

(C) Fernando Lopez-Lezcano 2013

EMW 2013
 diffusion systems
two main types:
transparent systems, they try to create or recreate
a sound field
loudspeaker orchestras, the speakers are the
instruments
Acousmonium

(C) Fernando Lopez-Lezcano 2013

EMW 2013
 diffusion systems
two main types:
transparent systems, they try to create or recreate
a sound field
loudspeaker orchestras, the speakers are the
instruments
Acousmonium
BEAST

(C) Fernando Lopez-Lezcano 2013

EMW 2013
 diffusion systems
commercial systems
loudspeakers + digital mixer
packaged solutions
custom systems
software created for one or many concerts
general purpose software (a package)
permanent systems (part of a concert hall)

(C) Fernando Lopez-Lezcano 2013

EMW 2013
 diffusion systems
the emergence of open source and free (as in
freedom) software and open computer systems
that span from the operating system itself to the
user programs allow the creation of highly complex
and configurable diffusion systems

GNU/Linux: pick your distribution (Fedora + Planet

CCRMA, Ubuntu Studio, ArchLinux, Gentoo, etc)
PCs: beyond Windows
try to use and reuse existing software: Jack & friends

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 hardware: computer
general purpose PC... but:
high speed (4 to 6 cores, 32 to 64G RAM)
raid array for storing audio/video
low noise or no noise (depends on the
environment in which it runs)
A/D D/A converters
high quality, expensive: RME pci/pci-express family
USB2
exotic options - digital snakes and jack-mamba

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hardware: computer

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 hardware: speakers
passive
active (our choice)
all in one design, good if properly tuned
no separate amps, no heavy wiring
but:
need to route power to all speakers

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 hardware: speakers
we wanted:
flat frequency response
best if up to 20KHz
wide dispersion angle
no fans
reasonable cost
rugged

(we are using the QSC HPR122i mains / HPR181 subs, very
good but no longer manufactured... how we bought them is a
long story in itself)
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 software
GPL & other licenses: free(dom) software
jack
ambdec, ADT
jconvolver, DRC
zita-lrx (linkwitz-riley, 4th order)
supercollider / supernova / custom ugens (LR4)
ardour 2 / 3
... and many others (meterbridge, jaaa, japa)...

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EMW 2013
 software
GPL & other licenses: free(dom) software
the linux kernel... latest one patched with the RT
(realtime) low latency patch (3.8.10-rt11)
realtime scheduling for sound processes
we can use very small sound buffers (64 x 2)
interrupt request priorization (through rtirq)
end result: no sound glitches even when the
workstation is fully loaded

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EMW 2013
 examples
control system of the Listening Room
large scale diffusion system

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 listening room
built in 2004/2005
nearly anechoic
noise floor below 24dB
7.036x7.417x 2.184
acoustically transparent floor

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listening room

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listening room

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 listening room
22 speakers
8 x HR824 + 14 x HR624
4 subwoofers
SBX-10

configuration:

1+6+8+6+1

(really 23, we have a center speaker)

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 listening room
hardware
software

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 listening room: hardware

sound sources

diffusion system

controls

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 listening room: software
OpenMixer (written in supercollider)
jack
aj-snapshot
jacktrip
netjack (netone)
jconvolver
ambdec_cli
(open sound control)
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listening room: interface

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 listening room: interface
44.1/48KHz normal and ambisonics modes
inputs:
24 channel digital i/o from workstation
16 analog balanced inputs
16 channel ADAT interface (2 i/o ports)
8 microphone inputs
7.1 channels from blu-ray player
up to four 24 channel ethernet interfaces (netjack)
outputs:
23 main speakers, 4 subwoofers
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 multichannel diffusion system
goals:
transparent, high quality sound
flexible and adaptable
medium/high speaker count
not expensive

(C) Fernando Lopez-Lezcano 2013

EMW 2013
 multichannel diffusion system
hardware
PC (6 core / 64G ram)
remoted display and interfaces (optional, ethernet)
NetworkSound Digital Snake (1/2)
analog input and output (32/32), ethernet driven
RME RayDAT
digital input and output (4 x ADAT, optional)
BCF2000
mixer control

(C) Fernando Lopez-Lezcano 2013

EMW 2013
 multichannel diffusion system
software (current)
supercollider
volume and delay compensation, LR4 crossover
volume and delay bias

ambdec and/or ADT (Ambisonics Decoder Toolkit)

ambisonics decoder (up to 3rd order periphonic)
jconvolver
DRC (Digital Room Correction)
ardour2/3
live mixer or soundfile playback system
jack-mamba (drives the ethernet a/d d/a converters)
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 multichannel diffusion system
each concert is a new experience
the software is developed / tweaked for
each concert / venue / speaker setup

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 concerts
2010: CCRMA Backyard 8 x HPR212i .2
2011: Transitions: 8 + 8 .4
2012: Transitions: 24.6
2013: Bing! (and beyond)
Opening Night Fanfare (10 + 5 PA + .4)
Bada Boom Bada Bing Festival (2 nights, 24.6)
From Constantinople to California (Hagia Sophia, 24.6)
Jonathan Berger's chamber operas (24.6, ambisonics, ADT)
2013: Outsound Music Festival (one night, 8.2)
2013: Transitions: 20.6, ADT, DRC
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 concerts
Transitions 2012

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 concerts
2012: Transitions (24.6)

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 concerts
Transitions 2012

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 concerts
Transitions 2012

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 concerts
From Constantinople to California

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 concerts
how to fit this...

into this:

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 concerts
how to expand this...

into this:

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 concerts
From Constantinople to California

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 concerts
From Constantinople to California

signal routing

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 concerts
From Constantinople to California

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 concerts
From Constantinople to California

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 concerts
From Constantinople to California

a demo.... just stereo, so in no way this represents

the feeling of being in the transformed space

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before the concert...

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 before the concert...
loudspeaker location plans, cabling plans
managing inputs and outputs
(software development)
speaker rigging and cabling...
measuring speaker distances and level
measuring impulse responses for DRC
sound tests, tweaking
creating of ardour sessions for each piece
rehearsals

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before the concert

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before the concert

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before the concert

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before the concert

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 future
including DRC into the system
first successful test in the Transitions 2013 concert
integration of several systems into supercollider
ambisonics decoding (using ADT and a GUI)
partitioned low latency convolution for DRC
design a GUI in SuperCollider for better feedback
banks of level meters
automatic calibration routines
routing

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questions?

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 thanks!

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EMW 2013