We invite participants interested in spatial audio to take part in a 2 hour design and ideation workshop focused on New Interfaces for Spatial Musical Expression. The workshop will focus on the design and lo-fi prototyping of novel interfaces for spatial music. Participants will discuss what such interfaces might look, feel, and behave like, and…
This workshop focuses on the design and lo-fi prototyping of novel interfaces for spatial musical expression. Participants will discuss what such interfaces might look, feel, and behave like, and consider which materials, gestures, and mappings could support intuitive and expressive control of spatial sound. Working with lo-fi prototyping materials provided by the organizers, participants will…
The G3S team hosted a hybrid workshop at the ICAD 2026 conference, held on July 30th in Barcelona, entitled “Designing Interfaces for Spatial Musical Expression: An Ideation Workshop”. A total of 17 sound and music researchers participated across hubs in Bielefeld (Germany), Troy (USA), and Barcelona (Spain). The workshop explored the design and lo-fi prototyping…
At JIM26 in Lille, Arnau Gran i Romero proposed a demonstration of a spatial synthesizer he is developing as part of his PhD thesis. This synthesizer is based on a spectral reformulation of 2D ambisonics introduced in the AES paper “Exploring 2D Ambisonics by Amplitudes and Phases” (Bonardi et al., 2026). This reformulation describes the…
How can a programming language as Faust inspire and help shape our research, research-creation, and teaching activities in a Music Department? The answer may differ from what would be given in a computer science department. What value do we see in teaching Faust to music students and musicologists, in using this language to generate timbres…
This paper presents a spectral-like reformulation of two-dimensional ambisonics, enabling an alternative representation of the sound field in terms of amplitudes and phases. We situate this work within electroacoustic music creation, framing spatial audio as a synthesis problem. The amplitude-phase approach we propose allows for continuous manipulation and distortion of the sound field, starting from…
We presented at AES26 a spectral-like reformulation of 2D ambisonics, enabling an alternative representation of the sound field in terms of amplitudes and phases. We hypothesise that it simplifies the representation; creative manipulation of 2D ambisonics, beyond encoded directional point sources. Paper available here: https://aes.org/publications/elibrary-page/?id=23168
In the framework of this ERC project, the CICM (Centre de recherche Informatique et Création Musicale) is upgrading its studio originally equipped with a 16-loudspeaker hemispherical array for sound reproduction in High-Order Ambisonics (HOA). During the ERC project, the team will conduct in situ prototyping of tools for spatial audio processing, perceptive tests and host…
This work presents the design of a 36-loudspeaker 3D ambisonics system without a southern hemisphere within fixed architectural constraints. The study evaluates candidate configurations using condition numbers, vector-energy (VE) and velocity-vector (VV) metrics, and discusses hardware choices such as DAC. Article available on Zenodo
Paris 8 University, the Maison des Sciences Humaines et Sociales Paris Nord, in partnership with the University of Gedaï (Tokyo, Japan), invite the Ensemble Cairn for a concert highlighting Japanese music and the question of sound space. In Japanese, the concept of Ma, whose kanji depicts a sun (日) framed by a gate (門), refers…