Tag: Ambisonics

Daydreaming in Hel – Ambisonics work (2024)

Ambisonics electroacoustic piece presented during Sonorities Festival 2024 at SARC (Queen’s University Belfast).

Programme notes | Daydreaming in Hel is a field-recording based immersive piece that mirrors the dynamics of a mind that cannot settle. Racing thoughts, associations and inner talk, constantly compete with the need to relax, stirring up brain fog and agitation. It is a dance of known and unknown elements competing for attention.
The environmental sounds that structure the work were captured in the peninsular town of Hel (Poland),
by the Baltic Sea. The piece spatial sound is delivered in 3rd order Ambisonics format

Another ADHD Dream – binaural work (2024)

‘Another ADHD Dream’ is an electroacoustic miniature piece composed for the online album mix​-​FOF​-​cv​-​bang!*

Binaural track | Listen on headphones | Bandcamp

Programme notes | “The mind sometimes goes round and round. “Another ADHD dream” is a sound representation of the discomfort of obsessive, short and repetitive dreams that can occur in individuals with ADHD. Voices that insist, tasks repeating themselves, accumulated energy and restlessness. The only solution is to wake up. Piece originally composed in Ambisonics and decoded into binaural format.”

* The album is the result of a partnership with the Brazilian Society of Electroacoustic Music (SBME) during the organisation of the ‘IV EIME’ (International Meeting of Electroacoustic Music).

Method, system and computer program product for recording and interpolation of ambisonics sound fields – US patent (2023)

This patent refers to the joint effort at Zylia to develop a fully functional recording and playback system for live-recorded 6-degrees-of-freedom audio enabled by simultaneous Ambisonics sound fields.

Such a system could be used to enrich powerful spatial audio experiences in the future.

My contribution was mainly to develop and implement the interpolation strategy itself used during the playback stage.

Endless VR – Immersive movie by Wojciech Puś (2022)

“‘Endless‘: feature film & cinematic performances. The threshold between reality and hallucination: a convulsive beauty & uncanniness of metamorphosis.”

My roles: spatial sound capture / re-recording mixer (Ambisonics)


E N D L E S S (VR) – Credits

Cast: Szymon Czacki , Magdalena Wawrzyńczak , Pierre Emö , Lina Bembe , Anton Tsyhulskyi , Jorge Benavides , Pat Dudek , Edmund Krempiński, Jerzy Tabor

Director/cinematography/screenplay: Wojciech Puś

Sound design and music: Thomas Köner

Additional music: Wojciech Puś

Animation/VFX: Jerzy Tabor

Camera assistant: Tomek Lechicki

Gaffer: Michał Bratkiewicz

Camera assistant (VR): Marek Titow

Mixer / re-recording mixer (Ambisonics): Eduardo Patricio

Production (VR): Krzysztof Pijarski , Krzysztof Franek / Vnlab Pwsftvit

Development VR: Pola Borkiewicz , Jacek Nagłowski

Exploseum sound installation, Binaural / Ambisonics (2022)

This is a binaural installation I presented at the Exploseum museum* in Bydgoszcz (Poland), using spatial audio to bring to life sounds of a possible past.

Voices, machinery, movement etc. are added to this now empty room which used to be part of a German Nazi explosives-making complex.

The installation was part of a larger project carried out by lecturers (Jędrzej Rochecki, Adam Mart and I) and students from Feliks Nowowiejski Academy of Music.

Here’s a reproduction of the installation, but as a 360 / VR video with Ambisonics audio.

* A a unique example of industrial architecture on a global scale, practically unchanged since World War II. The facilities adapted for tourist purposes are part of one of the largest armaments factories, in the past intended for military tasks of the Third Reich.

AES Fall Show 2021 (workshop on Ambisonics and virtual microphones)

Another basic Ambisonics-related workshop to help people get into spatial sound.

All music examples were recorded at the Music Academy of Bydgoszcz. Thank you to everyone who helped and the students that volunteered.

https://sched.co/mKTp

Workshop description “In this workshop we will focus on multi-microphone setups for music production, using single Ambisonics microphone arrays. Ambisonics microphones are often used to record full spherical sound fields for different purposes, including virtual reality. But an especially interesting use of their spatial audio technology is the possibility to create beamformings (aka, virtual microphones) after the recording has already been done. To comment on this, this workshop will address Ambisonics recording, directionality/polar patterns, virtual microphone setup, and mixing. All this will be illustrated by practical audio/in-DAW examples of spatial recordings done in studio of several musical instruments. By the end of this workshop, you will understand the process from start to finish, being able to successfully use Ambisonics microphones as additional tools for music production. “

IN PROTEST – VR film series (2020)

IN PROTEST is a project from GRX Immersive Labs and is being produced by a core team of Black immersive storytellers and creative professionals led by Alton Glass and Adam Davis-McGee.

My roles: sound design; spatial / Ambisonics mix.

The first 7 episodes are already available on Oculus TV: “First Response | IN PROTEST: Minneapolis & St. Paul”

Behind the scenes interview: https://www.oculus.com/blog/behind-the-scenes-of-in-protest-with-alton-glass-and-adam-davis-mcgee/

We Walk Together – soundwalk (2020)

5 soundwalks, 5 cities, spatialized in 3rd order Ambisonics.

Authors: Rui Chaves, Eduardo Patrício, Laura Romero, Lílian Nakao Nakahodo, Luz Camara.
Score: Rui Chaves
Mixing, editing and spatialization: Eduardo Patrício
25’00’’ | Mixed-media

Published on Vortex Music Journal

http://periodicos.unespar.edu.br/index.php/vortex/article/view/4521

We walk together (2020) is thought as a field-recording score that asks would-be performers to think sonically about a place, to produce sound within that place, but also to reflect on the changes caused by the pandemic both at an environmental and subjective level. This collaborative endeavor is a continuation of my exploratory work in novel ways of curating sound artwork outside institutional frameworks. The resulting work, using a visual reference, is a multi-layered and multi-linguistic ‘sequence shot’: an audio piece that straddles the line between fiction, documentary and musical composition.

The sonic essay is a collaboration between a series of artists located in different parts of the globe: Rui Chaves (Loulé, Portugal, 25/06/2020), Eduardo Patrício (Koziegłowy, Poland, 17/06/2020), Laura Romero (Valencia, Spain, 06/06/2020), Lilian Nakao Nakahodo (Curitiba, Brazil, 05/07/2020), Luz da Camara (Evoramonte, Portugal, 19/06/2020).

Up ↑