01SPACE
Design space
Define relations between sources, listeners and outputs. Treat distance, direction, boundaries and density as musical variables.
Coordinates / sound fields / boundaries / listening positionExplore this discipline ↗ SOUND × MOTION × SPACE RESEARCH / 2026
Spatial Audio
Design↗
Compose sound,
motion and space.
Research and development toward new theory and technical foundations for spatial music, sound synthesis, motion, composition and experience design.
Watch the application recordings ↓
01 / THE FRAMEWORK
Six disciplines.
A shared language for making.
We are developing a framework that connects description, implementation and comparative evaluation to create new spaces, audio, sound design, compositions, effects and experiences. This is the design framework proposed by the project.
02SYNTHESIS
Synthesize sound
Design oscillation, harmonics, envelopes and grains. Connect position and speed to timbre to explore instruments shaped by motion.
Waveforms / timbre fields / articulation / granular synthesisExplore this discipline ↗03MOTION
Make motion musical
Combine trajectories, speed, acceleration and group transformations. Describe recurrence and crossings as we describe melody and rhythm.
Orbits / deformation / swarms / time transformsExplore this discipline ↗04COMPOSITION
Compose relationships
Extend pitch and time with changes in position and relationships. Build forms from spatial voices, handoffs, silence and evolving memory.
Spatial counterpoint / chapters / state transitions / restsExplore this discipline ↗05EFFECTS
Design transformations
Connect delay, granular processing and freeze to spatial regions and crossings. Combine changes to sound with changes to its path.
Spatial delay / traces / regions / processing orderExplore this discipline ↗06EXPERIENCE
Design the listening experience
Consider attention, bodily movement, duration and the relation to images. Include who listens, and from where, within the composition.
Attention / body / duration / audiovisual relationshipsExplore this discipline ↗02 / LOCAL APPLICATION RECORDINGS
Made locally.
Shown in recordings.
Three comparisons made in the production application, recorded with its screen and sound. Each is 12 seconds long. Follow the controls and motion while listening to what changes.
01 / SYNTHESIS
Synthesis: moving timbre and filter
Eight orbiting voices pass through the timbre field. The filter reference setting changes every four seconds while the trajectories remain the same. Each voice’s actual cutoff varies with its position in the timbre field.
- Reference 1.2 kHz
- Reference 4.8 kHz
- Reference 12 kHz
02 / EFFECTS
Effects: delay, grains and spectral branches
Four sources move from spatial delay to sparse grains, then dense grains with a three-band split. Follow the original and processed voices through the FX panel and the sound.
- Spatial delay
- Sparse grains
- Dense grains + 3 bands
03 / MOTION
Motion: swarm, orbit and repeated gates
Compare moving sources in a swarm, a planar orbit with a two-second period, and repeated gates at fixed positions. Conditions switch every four seconds to separate a motion period from an articulation period.
- Swarm
- Orbit / 2 s
- Looper
How to read the recordings
The local application screen is recorded frame by frame against audio sample time and combined with PCM generated from the same scene. The four-second cuts separate comparison conditions; they do not demonstrate continuous morphing between the conditions.
The recordings use an illustrative virtual studio. Audio is the production application’s stereo audition, not binaural rendering or a venue recording of Room A/B/C. Source markers, child voices and trajectory graphics have distinct roles. Bars preview panning gains; the PEAK/RMS numbers below measure actual PCM. Looper periodically gates continuing voices.
03 / SHARED REPRESENTATION
One event.
Sound and image.
Give each source an ID and record its time, position, timbre, motion, relationships and state. Generate sound and image from the same record, so changes can be traced and compared.
EVENT
ID · t · position · sound · motion · relation · stateFields & sources
Define spatial rules and units of sound. Sources and output speakers are distinct entities.
Transforms & time
Record the order of timbral, trajectory, group and time operations. Compare rotating then translating with translating then rotating.
Render, sound & evaluate
Align visuals, controls and PCM measurements to audio sample time. Apply room-specific output configurations at the rendering stage.
The production study uses 48 kHz / 60 fps: 800 audio samples per video frame. The recordings show the local application, exported against the audio sample clock.
04 / RESEARCH HYPOTHESES
Three questions.
Toward new theory.
These are research hypotheses. Novelty and perceptual effects remain to be established through controlled comparisons, listening from different positions and reproducible records.
Can motion become musical syntax?
Compare fixed, orbiting and crossing versions of the same material, examining grouping, voice separation and perceived tension.
Can space act as a timbral instrument?
Compare timbre linked to position with an unlinked condition, asking whether listeners can learn the relationship between trajectory and timbre.
Can memory be composed in space?
Vary the positions, delays and decay of present and past sound, examining recognition of repetition and anticipation of what comes next.
EVALUATION AXES
Reproducibility / voice separation / trajectory recognition / attention shifts / variation across listening positions
05 / THE WORKING FOUNDATION
From a description
to a working study.
The local production environment connects synthesis, spatial distribution, visualization and comparative listening. The recordings show actual synthesis, effect and motion comparisons in that local environment.
Implemented and software-verified
- Scene descriptions combining sources, paths and spatial regions
- Synthesizer and spatial-effect prototypes
- Composition studies and comparative auditions for Room A/B/C
- An integrated AV study with 24-channel PCM, stereo audition and four visual surfaces
- Faders, mute, solo and PCM meters connected to actual audio
To be investigated
- An expanded vocabulary of synthesis and transformation rules
- Comparative perceptual experiments and theoretical refinement
- Spatial composition methods across multiple listening positions
- Venue routing, acoustic tuning, visual calibration and sync measurement
06 / APPLICATIONS
Room A / B / C
The three rooms are application contexts for distinct musical and experiential forms built on a shared foundation. These are themes of current composition studies; venue integration and calibration remain separate work.
Shared time
Studies branch from a shared pulse into different timing patterns, exploring rules for paths and articulation.
Persistent paths
Studies explore path history, recovering voids and delayed agreement, connecting temporal differences to spatial change.
Changing memory
Studies explore changing responses, selective forgetting and prediction gaps, relating sound and image to the same events.
CONTINUING RESEARCH
How does music change
when space becomes part of it?
We connect what can be described, made and tested through listening, developing new theory, technology and a foundation for creative work.
Return to the recordings ↑