This paper documents the 360 video and audio recording of a newly composed work for saxophone quintet, performed in four distinct locations with differing spatial distributions of performers. The potentially site-specific nature of instrumental spatial music is first discussed via a number of historical examples. A comparative analysis of the recordings of this new work from each location is then performed, and the influence of the acoustic environment on different spatial effects such as mobile performers at varying distances, spill, and spatial trajectories is investigated. The analysis suggests that for exterior locations, localization accuracy in first order Ambisonic recordings is adequately maintained, even when performers are placed at large distances. In addition, the presence or lack of reverberation is shown to strongly influence the effectiveness of spill effects or spatial trajectories in instrumental spatial music compositions.
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