Here are the Logic DAW Definitions of Quadraphonic and 5.1 Surround Sound. For Spatialisation we will be mainly focussed on the latter. Wendy Carlos used a quadraphonic set up with a speaker directly in front and behind, and hard left and right.
Early innovators of Quadraphonic Sound were Stockhausen’s Gruppen. Written for 3 Orchestras placed around the audience. Other noticeable innovators include Suzanne Ciani who usually performs in the format. Modular synthesisers interacting in disorientating counterpoint around the listener.
The Helicopter Quartet could be quite effectively placed in Quadraphonic Surround Sound for performance. It’s interesting the helicopter background noise interfering with each other, mimicking the sounds of the violins.
We watched some Zimoun sound installations. I find these instances of spatialisation a lot more fascinating than speaker configurations. I am interested in the primitive mechanisms and the kind of auto-accompany nature of it. Thinking of sound in these minute suscerations is interesting. There is something quite natural about them in contrast to the visuals (their white-walled setting). The movement is interesting and attention grabbing. Very satisfying asmr quality to the sound.
We planned out a visual score for a quadraphonic performance in class. I had the privilege of hearing students interpret my visual score. It made me think about scores in a new kind of way. Similarly to Gareth’s lessons last term. In my eyes a score has always meant a recording before recording was invented. A way for the art of a composer to be immortalised. Quite a morbid and centred object as accurate of a capture of the artist’s intent as possible. In some ways, the opposite end of the political spectrum to visual scores, which are more interested in the performers interpretation and subject to change as times change and new interpretations emerge. I see visual scores as more of an invitation to restrict a performer and find a new form of experimentation out of themselves, but equally out of the hands of the composer as well. – Much more of a conversation/collaboration. It was really interesting to think of people performing the score in this way, what was a very simple thought to me was turned into something more interesting.
Some very illuminating musings on Quadraphonic Surround by one of its principled innovators and advocators.
Suzanne Ciani shows us her gear and talks about how she uses spatial modulation to great affect.
Ciani worked for Buchla, a synthesiser company.
Ciani claimed that use of spatial sound in performance undeniably lends itself more favourably to electronic performance. Because in electronic music, space is a variable. “Space is a perimeter and can be changed”. Using Buchla synthesizer which she helped build. Suzzane Ciani layers spatial dynamics different on top of each other to create patterns, which she calls ‘Spatial Algorithms’
“Spatial Modulation is a form of rhythm” – Ciani says fast moving spatial modulation, lends itself to faster music. As the panning then matches the pace of the music. In this sense, the pan is part of a rhythmic pattern, and this is used to brilliant effect in moments of her quadraphonic performances where she removes tones, and works entirely with dizzying percussive sounds in a randomised fast moving spatial pattern she calls ‘white noise’. In contrast ‘Ocean Waves’ is used by Ciani on slower songs, with two patterns operating in sync with each other moving slowly together creating swells and changing direction.
When Ciani uses fast movement, she talks about layering slower moving spatial modulation patterns underneath to ‘create a bed’, otherwise the fast spatial modulations can seem ‘naked’.
Here is an interesting project using VCV, a free modular synth emulator to emulate the Buchla 200e.