Recording Footnotes: manifesting production

Footnotes is an ongoing project involving recordist Jez Wells, composer William Brooks and performer Stefan Östersjö. Footnotes (1983-86) is a piece for guitar where the composer adopts several different ‘masks or personae’. When performed these masks interact with those (the different instruments, techniques etc.) of the performer. Now this piece is undergoing an additional set … Continued

Reverberation modelling

The first working prototype of a new reverberation modelling system is currently being tested in the Music Production, Processing and Analysis Group. Modern digital reverberation systems are typically either convolution-based or algorithmic. The former type works with samples of reverberation (usually in the form of a room impulse response), which is applied to incoming audio … Continued

Interaction between Aesthetic Judgement and Emotional Processing of Contemporary Music

Musicologists, practitioners, and critics have recognised that contemporary music is often challenging to audiences used to traditional western music structures. However, this music can be enjoyable. We will conduct a pilot study in order to understand why some listeners respond positively and others negatively to this music, identifying the cognitive and emotional processes that facilitate … Continued

Crosstalk-cancelled stereo: history and potential

Twenty five years ago two signal processing systems that claimed to be able to move sounds presented over stereo loudspeakers in three-dimensional space (including at height, and outside of the space between the speakers) were developed. Roland Sound Space (RSS) and QSound were briefly adopted for a number of significant commercial audio releases in the … Continued

Music production as human activities

This project is concerned with the people who undertake the wide range of activities that fall under the umbrella category of ‘music production’, and how they affect the outcomes of those activities. The roles of the recording engineer and producer have changed over the century and half in which humans have had the capability of … Continued

New approaches to classical music production

Aside from a few isolated exceptions, the classical (art music) recording industry has taken more conservative approach to the presentation of musical sound than has occurred with electronic and pop production. The techniques and technologies applied in classical production are highly sophisticated leading to excellent outcomes, yet the outcome rarely deviates from established and narrow … Continued

Strategies for Distributed Network Performance

The Online Orchestra (Phase 1) is a project that was funded by AHRC (fit to connected communities and design highlight notice), run by Falmouth University from Oct 2014 – Mar 2016, in collaboration with the University of Bristol, the Philharmonia Orchestra and the Cornwall Music Education Hub. Wide ranging research suggests that participation in ensemble music … Continued

Modularity, Immediacy and Exchange in Laptop Improvisation

Improvisation with live instruments presents unique challenges to the laptop performer. Modularity, Immediacy and Exchange in Laptop Improvisation is a research project that addresses the challenges of laptop improvisation by developing a new command-style live coding environment. This environment is tested through performance and improved based on the needs and findings of practical experience in … Continued

3DMIN – The Embodiment of Sound

The goal of our contribution to the 3DMIN project is to empirically research parameters in the interaction with musical instruments that are crucial both for the performer and the experience of the audience. Especially the relationship between gestures and the sensory feedback of the instrument will be investigated. This parameter called “mapping” is considered substantial … Continued