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Paper Session 11: Studio Reports I

May 16 @ 9:00 am - 10:30 am
Three studio reports will be presented:

 

Takeyoshi Mori: “Studio Report: Laboratory of Advanced Music Production, Senzoku Gakuen College of Music”

The Laboratory of Advanced Music Production at Senzoku Gakuen College of Music explores new forms of artistic expression through the integration of music and technology. Our mission is to expand the possibilities of music creation, performance, and listening beyond the framework of traditional music research and practice. The Laboratory brings together artists, engineers, and researchers in a collaborative environment that integrates education, creative production, research, and international
exchange. The facility supports immersive and technology-driven artistic work, including multichannel and spatial audio systems, multi-projection environments, and motion-capture technologies. These systems can be flexibly combined through a dedicated high-speed media network within the college campus, enabling large-scale and experimentally oriented productions. This studio report introduces the structure, facilities, and activities of the Laboratory, outlining its research and creative directions in the field of computer music. By sharing our work with the international community, we aim to contribute to the ongoing development of technologically informed musical expression.

José Ricardo Barboza and Gilberto Bernardes: “Studio Report: A Third-Order Periphonic Ambisonics System for Teaching and Research at FEUP and INESC TEC’s SMC Lab”
We present the design, implementation, and educational deployment of a third-order periphonic Ambisonics loudspeaker system at the FEUP and INESC TEC’s Sound and Music Computing Lab. The installation comprises twenty lightweight coaxial loudspeakers mounted at the vertices of a dodecahedral layout in four elevation rings, yielding symmetric sampling of the sound field around a central sweet spot. The system decodes 16 higher-order Ambisonics (HOA) channels (N=3) to 20 outputs and was specified to be laptop-friendly, cross-platform, and cost-effective. We justify the choice of HOA over Dolby Atmos and Wave Field Synthesis and detail the geometric derivation of loudspeaker directions, practical mounting solutions, and a calibration workflow that combines precise mechanical alignment with decoder-level angle and gain compensation. Over four years of continuous use, the array has supported courses, theses, and studio projects in immersive audio, with consistent reports of convincing externalization and localization despite modest driver fidelity. We share azimuth/elevation coordinates and integration notes for open-source Ambisonics tools, enabling reproducibility and rapid onboarding for new users. The system offers a flexible foundation for research and teaching and a clear upgrade path toward higher orders and hybrid reproduction formats.
Ludger Brümmer, Götz Dipper and Dan Wilcox: “20 Years Zirkonium and Klangdom at ZKM”

2026 marks the 20th anniversary of the first release of the Zirkonium spatialized-music composition environment, created over three versions from 2006-2026. Initiated for use with the Klangdom, ZKM’s 47.4-channel dome sound system, Zirkonium is focused on accessible use of spatialization algorithms for composers and live performers. This paper describes the historical development stages of the three versions of the Zirkonium software, provides an overview of practical working methods with Zirkonium, and explains the current technical status of development in the third generation of the project, as well as future plans.

 

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