[about] [what is spatware?] [what is sound spatialization?] [system requirements and feature list] What is Spatware? Spatware grew out of the work of a loosely organized UCSD research group known as the TRAnSiT Project (Toward Real-time Audio Spatialization Tools). Based at UCSD's Center for Research in Computing and the Arts (CRCA), the UCSD TRAnSiT group has been developing multi-channel spatialization control and processing software for several years. Initially implemented on high-end Silicon Graphics Workstations, a refined interface has been created for Macintosh G3 and G4 series computers running standard multichannel audio interface cards. Current Spatware implementation allows: Dynamic, real-time control (1 ms. resolution) of two simultaneous, independent, arbitrarily specified motion "soundpaths" expressed in up to 16 output channels. Static placement of 6 additional audio channels may occur to any combination of up to 16 output channels. Specification and instantaneous playback of soundpaths relative to a graphcially displayed soundfile. Ability to rescale soundpaths to varying sound file lengths and signal processing routines. Excellent simulation of moving sound sources, relative to stationary OR moving listeners, based on computer modeling psychoacoustic ques. Spatware Applications include: Post-production sound for picture Musical composition and performance Audio for VR Theme park and special venue entertainment Gaming development DVD audio Theatrical and Broadway productions Web page design; internet and database navigation Spatware's intuitive, high-level waveform-based interface enables precision specification of soundpath parameters for unified control of: distance (reverb + level + air absorb filter create excellent distance perception) scalable Doppler Shift continuous graphical or function-based control of sound path rate of movement (acceleration, deceleration, time-warping) overall amplitude, with scaling and offset mix and match soundpaths with various soundfiles and signal processing routines overall time fucntion scaling of soundpaths and soundpath segments Sync and control methods include: MIDI or SMPTE triggering and continuous MIDI control of real-time parameters audio threshold triggering Spatware Utilities include: soundfile recording of up to 12 channel files, in AIFF or SDII formats remixing of 2 or 3 multichannel soundfiles to one multichannel soundfile automated level testing of multichannel environments MIDI or SMPTE automated multichannel soundfile playback tools. Who Uses Spatware? Early versions of Spatware have been employed by Composers Roger Reynolds, Morton Subotnick and Chris Mercer. Sound Traffic Control of San Francisco, a supporter of UCSD Spatialization Research, has a custom 12 channel version installed. This Spring a graduate seminar at UCSD will experiment with Spatware as a compositional tool for multichannel music composition and production. [top] What is Sound Spatialization? Sound spatialization is the process of creating the perceptual illusion of a continuous and physically realistic surround soundfield, in which source sounds can be virtually placed and arbitrarily moved all around the listener in accordance with control information. The distribution of sound to different topographical regions in a performing or listening space has an impressive and indisputable effect on its environmental power, perceptual clarity, and emotional intensity. UCSD Sound Spatialization Research concerns the prototyping of a system for computer sound processing within multiple speaker diffusion setups, and the combination of this system with technologies for active acoustic enhancement of real host spaces. Complex spatialization paradigms (e.g. containing nontrivial perceptual cues such as first reflections) are prototyped and evaluated using a rapid prototyping language, with the ultimate goal being the refinement of a realtime DSP spatial system conducive to a variety of beneficial applications. These include audio mixing, VR in arts, entertainment and simulation; room and concert hall acoustic design; musical composition and performance; sound production and diffusion for cinema and DVD; enhanced intelligibility in video- and tele-conferencing; business and educational presentation; computer games; home theater and home audio systems. [top] Spatware Beta V 2.0 System Requirements: Mac G4 with a minimum of 128MB RAM running OS9, with one of the following sound cards (ranked according to latency from best to worst): Digidesign Digi 001, Project II, ProTools IV, & ProTools Mix MOTU 2408 Korg 1212 I/O Emagic Audiowerk8 Sonorus StudI/O Sufficient hard disk space required for converting mono and stereo sound files to 6 or more channels. Configure Spatware for a minimum RAM allocation of 60MB. Most testing has been done on a G4 450 with a MOTU 2408mkII interface. List of Spatware Beta V2.0 Features: Powerful sound motion controls for extremely realistic or exaggerated movement effects. Non-destructive spatial editing of AIFF or SDII sound files Internal overdubbing of multiple spatial effects. Millisecond precision of display and soundpath breakpoint specification. Familiar, intuitive waveform display user interface Quicktime clip display with spatial audio playback Rapid switching among zoom and editing modalities using control key combinations Powerful effects design possibilities using on-board reverbs, pitch (Doppler) shifting, phase and distance controls. Powerful scaling features allow spatial and DSP effects to conform to various soundfiles of various lengths. Mix and Match various spatial paths with various DSP effects. Ability to enter and insert spatial path breakpoints in any order, in zoom or non-zoom displays. Ability to zoom both amplitude and time domains, down to waveform precision. Intuitive transport controls with MIDI and SMPTE triggering. Logic is much improved. Spatial paths run the following states: start stop pause continue specify arbitrary start point specify arbitrary stop point specify both start and stop Return to zero and play entire file while toggling back to user- defined start and stop points Cut and Paste spatial breakpoints Specify breakpoint insertion graphically or numerically Online help via interface feature labels Real-time calculation of effects and soundpaths for quick specification and instant auditioning Add silence to effect for pre-roll and spatialized reverb tails. Multichannel level metering in graphical analog to selected speaker layout Meter and breakpoint layout can be modified to correlate with the user's speaker setup. Default is 5.1 using the overhead; up to 16 channels can be defined. DSP functions can be scaled and offset. DSP function edits can be undone Store DSP and soundpaths separately or "Bundled in a single file. Bundles of Bundles can be loaded for quick changes from one effect to another. Arrays of DSP presets may be stored as text files Record functionality allows the user to record an AIFF or SDII soundfile of the current spatialization routine. Live audio input can be used for live sound spatializing or in-studio prototyping (without recording sound files). Default speaker layouts are indicated below. Other layouts can be defined by the user and stored. [top] [link to power point presentation]