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E. Bates, S. Csadi, H. O'Dwyer, L. Ferguson, and FR. M.. Boland, "Recording and Composing Site-Specific Spatial Music for 360 Video," Paper 10142, (2019 March.). doi: E. Bates, S. Csadi, H. O'Dwyer, L. Ferguson, and FR. M.. Boland, "Recording and Composing Site-Specific Spatial Music for 360 Video," Paper 10142, (2019 March.). doi:
Abstract: 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.

@article{bates2019recording,
author={bates, enda and csadi, sebastian and o'dwyer, hugh and ferguson, luke and boland, francis m.},
journal={journal of the audio engineering society},
title={recording and composing site-specific spatial music for 360 video},
year={2019},
volume={},
number={},
pages={},
doi={},
month={march},} @article{bates2019recording,
author={bates, enda and csadi, sebastian and o'dwyer, hugh and ferguson, luke and boland, francis m.},
journal={journal of the audio engineering society},
title={recording and composing site-specific spatial music for 360 video},
year={2019},
volume={},
number={},
pages={},
doi={},
month={march},
abstract={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.},}

TY - paper
TI - Recording and Composing Site-Specific Spatial Music for 360 Video
SP - EP -
AU - Bates, Enda
AU - Csadi, Sebastian
AU - O'Dwyer, Hugh
AU - Ferguson, Luke
AU - Boland, Francis M.
PY - 2019
JO - Journal of the Audio Engineering Society
IS -
VO -
VL -
Y1 - March 2019 TY - paper
TI - Recording and Composing Site-Specific Spatial Music for 360 Video
SP - EP -
AU - Bates, Enda
AU - Csadi, Sebastian
AU - O'Dwyer, Hugh
AU - Ferguson, Luke
AU - Boland, Francis M.
PY - 2019
JO - Journal of the Audio Engineering Society
IS -
VO -
VL -
Y1 - March 2019
AB - 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.