d e s   S O N S   d a n s   l ' a i r
t h e   a c o u s m o n e f

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the space, the place

I have long used the term "acousmonef" to describe what a loudspeakers projection means to me : a journey into sound space, with the speakers system as a vessel. But it was only an idea, a way of describing what is different from a traditional live-music concert.
And then, I had the chance to find and to afford this place that inevitably makes me think of a nave and that will become my working (and living) place during the following years.

With 130 m² on nearly 6 m height, the place offers a volume quite capable to allow the composition of spatially complex and exciting works. Without becoming the kind "acousmatic theater" that some have dreamed for decades (I'm part of it ...), its equipment can also support meetings, workshops and courses, may help composers to test or finalize their work, and also, from time to time, to organize sound projection sessions, where one can hear "alive sound", in all its dimensions.

Obviously, doing this in a village in Puy-de-Dôme may have some drawbacks as to its potential attendance... But the region is so beautiful ! 

 

 

 

the sound projection system

This place is dedicated mainly to the creation of loudspeaker soundworks (multichannel acousmatic) that integrate and use the space as a full element of their composition. This approach is partly derived from the history of musique concrète, such as "invented" by Pierre Schaeffer in 1948, and relies on more than thirty years of experimentation, reflection and almost daily composition.

For this, the Acousmonef uses a 62 independent channels fixed speakers arrangement, and the place can also be filled with the more original systems of the Acousmobile.

The design of this projection space has a long history, started with my first multiphonic works at the end of the 80s, and that can be summarized as follows : what speaker configuration can I set to be compatible with the existing standards (ie today 3D cinema audio formats as well as the multimedia/VR dome), and at the same time that can be sufficiently rich and flexible to meet my requirements and the relative diversity of my compositions ?

From the simple 3D structure that I have defined in the early 90's (see the installation Formes et couleurs de la vie), I have gone progressively to a "high resolution" solution where the outer part (45 channels on four levels) is common to all formats, and the inner part (18 channels on two levels) can be quickly adapted for the ring/double-dome, the pseudo-sphere and the extended cinema, or even put aside for the dome.

See also : IRCAM's Espace de projection in Paris, the SATosphère in Montréal, the ZKM's Sound Dome in Karlsruhe, the Spatial Sound Institute in Budapest, the Cube in the Virginia Tech, an other Cube at the University of Graz, the Audium in San-Francisco, the Casa del Suono in Parma...


The ring or double-dome (59.3 channels), and also the pseudo-sphere (54.3 channels, without the 5 center blue ones) :
a wide external dome (like a circus' big top, 45 channels) and a small interior one (like the circus track, 14 channels).
To be inside but also around the sound, the public is normally arranged along a ring.
This arrangement is especially adapted to cinetic compositions, to detailed 3D objects and to "architectural" conception in general.
It is the default layout of the Acousmonef.



The extended cinema (51.3 channels), NHK 22.2 and Auro-3D compatible + potentially Dolby Atmos and DTS:X, with a proscenium and a far level.
The public is traditionnally arranged in rows face of the (not so) virtual scene.
This arrangement is appropriate to compositions based on acoustic images that share the cinema-for-the-ear idea.



The (simple) dome (45.3 channels), compatible with 7th order HOA (see also the pseudo-sphere above) :
with the development of Virtual Reality, it is a space conception that becomes unavoidable.
The public can be arranged aleatory, possibly lying down (note : I have actually only two lounge chairs...).
This arrangement is most adapted to immersive sound.


 

 

the equipment

Workstation
- PC Core i7 6700k / 16 GiB (Windows 10)
- monitors 32", 24" and multitouch 23"
- 2 RME Multiface, 1 Digiface (PCI) + 3 Behringer ADA-8200, 2 Behringer ADA-8000, Alesis AI3, Presonus Digimax D8

Controllers and instruments
- Linnstrument 128, Sensel Morph, Aodyo Sylphyo, Livid Guitar Wing, Leap Motion, iCon iCreativ, HotHand USB, TE-MIDI BBC 2, Roli Lightpad Block, Myo, Numark Orbit, Remidi T8, OTO, Wave, Novation Remote 25SL, Yamaha MCS2 + pédales FC9 / FC7 BC2 Breath Controller, iConnectivity MIDI2+
- graphic tablets Wacom Intuos Pro 3 and Intuos Pen Wireless, Novint Falcon, SpaceNavigator, P5 Glove, 3dRudder, WiiBoard, Airbar...
- Surface 3 + 27" multitouch screen
- analog synthesizers : Arturia MatrixBrute, Behringer Deepmind 12D
- samplers : Ensoniq ASR10, Roland S770
- 8 channels tape recorder Fostex 80

Softwares
- DAW : Reaper
- editors : Waveshop, Acoustica, Soundforge
- modular-hosts : Synthedit, Audiomulch, Bidule, Reaktor 3, Usine Hollyhock 2, Easine, SAVIHost...
- all the AcousModules of course ;-)
- other multichannel plugins : Mcfx, IEM Suite, Sparta, Virsyn Reflect, Zephyr, QuikQuak RaySpace, WizooVerb, Acon Digital, Voxengo, Melda Production, Ambix, o3a Core, Cosmosf Saturn5S...
- processing : Hourglass, Photosounder, Mammut, nmf Demix, PaulStretch 3, Audiopaint, Soundgrain, Panoramix, Sound Trajectory, (Sound Particles)...
- controllers : Xotopad, Geco, Tekh-Tonic, Tablet2Mid...
- and also Ardour, Podium, Eyecon, Sonicbirth...

Microphones / recording
- Zoom F8
- Zoom H6 + SGH-6, EXH-6
- Zoom H3-VR
- Zoom H2n
- Zoom Q4n et Q8
- LG 360 Cam
- Schœps CMC5 + MK14
- AKG C451 + CK1
- Zylia ZM-1 (multichannel and ambisonic up to 3rd order)
- Sennheiser Ambeo (1st order ambisonic)
- Brahma Standalone (1st order ambisonic)
- Twirling 720 Lite (1st order ambisonic)
- 6 Sennheiser K6 + 2 ME-64, ME-62, ME-66, ME-102, MKE-212
- 8 t.Bone SC-450
- 12 t.Bone SC-140
- 4 t.Bone SC-600
- 4 t.Bone SC-150
- 10 Behringer C2
- 4 Superlux E304 (surface)
- 8 t.Bone GZ-400 (surface)
- 3 t.Bone GC-300
- t.Bone EM-9900 + zeppelin
- LOM Uši (used in binaural)
- 2 Soundman OKM II Klassic A3 + artificial head (binaural)
- 2 Sennheiser MKE 2002 (binaural)
- 8 micros de contact K&K HotSpot
- hydrophones Aquarian Audio H2a, Cold Gold, Jez Riley French
- 4 LOM Elektrosluch 3 et 3+ (electromagnetc waves)
- LOM ElektroUsi
- LOM Priezor
- parabole Telinga Universal (with K6+ME-62)

62 channels (74 speakers) upon 4 height levels
periphery middle :
- 4 Alesis Elevate 6
- 2 Yamaha NS10
- 2 Tannoy PB6
- 5 Eltax Monitor 3
- 2 Digital Design LS161
- 1 Eltax Monitor Center
periphery top :
- 12 JBL SCS-178 S
periphery bottom :
- 3 JBL SCS-178 C
- 3 Magnat Motion 220
- 4 Eltax Monitor 1
- 2 active subs JBL SCS-178
- 1 active sub JBL LSR-310S
center top :
- 7 JBL Control One
center middle :
- 4 Eltax HT-2 (bipolar)
- 2 JBL Control Now + 2 JBL CS480 (in 360° cluster)
-
2 AKAI MS200 (in face)
centre bottom :
- 8 Eltax HT-2 (bipolar)
- 2 JBL Control Now + 2 Canon S-30 (in 360° cluster)
"far" :

- 2 Jamo E-350
- 1 Jamo E3 C
amplification :
- 6 channels amplifier : Rotel RKB-650
- 5.1 amplifiers : Technics SA-AX540, Kenwood KRF-V5100D, Pioneer VSX-D514, Sony STR-DE375, Yamaha RX-V595
- 4 channels amplifiers : 2 Behringer EPQ304, HPA D604, EMB Quattro 425
- 2 channels amplifiers : Roland SPA120, Ecler PAM210, Samson Servo 150, Dingolfin PT5050
- HiFi stereo amplifiers : Sony, Pioneer, JVC
 


 

 

 

 

 

previous places

 St-Étienne (2012 - 2017)

atelier-2015-3.jpg atelier-2015-4.jpg

the atelier-acousmonium at St-Étienne, from 32 channels in 2012 to 62 channels in 2015 (45 m²)

 

 

Passins (2008 - 2011)
18 channels (30 m²)

 

 

 Pélussin (2004 - 2006)


The second studio at Pélussin in 26 channels (45 m²), 2005/2006


The first studio at Pélussin (40 m²), 2004

 

 

Lyon (1996 - 2000)

 
 The studio at Lyon in 24 channels (40 m²)

 

 

 Massignieu-de-Rives (1989 - 1996)
16 channels (25 m²)