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Abstract. This study introduces Campi Instabili, a pioneering exploration into sound synthesis that seamlessly integrates tetrahedral geometry within spherical loudspeaker arrays to transcend traditional auditory experiences. Leveraging a custom-developed granular synthesis technique executed through novel C++ software, this project redefines the dynamic interaction between sound production and spatial acoustics. Each performance is uniquely adapted to its environment through a live, pre-performance tuning process, enabling the alignment of the composition with the specific acoustic characteristics of the venue. This approach not only challenges conventional paradigms in sound synthesis but also reimagines the role of performers in acousmatic music, who actively engage as listeners and tuning agents within the performance space. The resulting compositions offer a tailored auditory experience that invites new avenues for creative expression and interaction in music technology and spatial audio design.
Keywords: Spatial Audio Design, Granular Synthesis, Tetrahedral Loudspeaker Arrays, Acoustic Adaptation, Ambisonics, Sound Art Technology, Acousmatic Music
1 Campi Instabili
Campi Instabili represents an exploration in sound synthesis that integrates tetrahedral geometry within spherical loudspeaker arrays to enhance traditional auditory experiences. The project leverages a custom-developed granular synthesis technique, powered by specialized C++ software, to facilitate dynamic interaction between generated sound and the acoustics of various spaces.

At the heart of this exploration is the S.T.ONE spherical loudspeaker array, employing a tetrahedral configuration to maximize sound dispersion effectively. This setup not only allows for precise sound placement and movement but also allows to treat the system as an interconnected instrument.

Diving deeper into the conceptual groundwork, the project began with a pivotal “what if” question: What if we consider the S.T.ONE array, not as separate loudspeakers but as a single, unified (electro-)acoustic instrument? Such a perspective assumes that all sound production elements are integral parts of one cohesive instrument, rather than isolated units. Each sound, from the smallest grain to the more complex spectra, is intricately crafted and considered as an output from this integrated system. This approach underscores the complex interrelationships among the loudspeakers situated on different tetrahedron faces.

One of the key innovations of this project is the ability to adapt each composition to its specific performance environment via a quick, efficient tuning process. Before every presentation, by adjusting a set of parameters in the C++ source code, the software can render a newly adapted version of the piece. This capability ensures that the sound is optimally tailored to the venue’s unique acoustical properties, rendering each performance distinct.

In Campi Instabili, performers engage in roles that transcend traditional boundaries—they act as critical tuning agents. By adjusting to the acoustic feedback and utilizing the software’s quick-render capabilities, performers ensure the composition aligns with the spatial sound dynamics of the environment, significantly enhancing the auditory immersion of each performance.

With every element, from the custom-built hardware and granular synthesis software to the nuanced performer interactions and venue-specific adaptations, Campi Instabili offers a rich, tailored auditory experience. It invites audiences to explore sound synthesis and spatial audio design in novel, contextually responsive ways, transforming each presentation into a unique auditory experience shaped by its environment.

2 After Campi Instabili

While “Campi Instabili” has effectively delivered innovative auditory experiences through the integration of granular synthesis and tetrahedral speaker arrays, a complete theoretical understanding of why certain auditory phenomena occur within the piece is still lacking. This knowledge gap illustrates a need for an interdisciplinary approach that encompasses psychoacoustics, acoustics, electroacoustics, and music to fully dissect and appreciate the complexities of the piece.

To explore and untangle these rich interconnections, initiating new collaborations across these disciplines is pivotal:
1. Psychoacoustics: Collaborating with psychoacoustics experts can uncover how listeners perceive and psychologically interact with the intricate soundscapes of Campi Instabili. This field’s insights could reveal how spatial arrangements and the granularity of sounds affect auditory perception, pinpointing the subjective elements that contribute significantly to the piece’s overall impact.
2. Acoustics: Engaging with acoustics specialists can enhance our understanding of sound wave behaviors in various environments. This knowledge is crucial to discerning how the interplay of sound with the performance space shapes the unique auditory experiences with each rendition of the piece, thereby refining the tuning process and space-specific adaptations.
3. Electroacoustics: The technological foundation of Campi Instabili is deeply rooted in electroacoustic systems. A partnership with electroacousticians will delve into optimizing electronic sound manipulation and advancing hardware design, particularly in developing more sophisticated loudspeaker configurations and improving filter designs. Such collaboration is expected to not only explain existing auditory outcomes but also foster technological innovations that enhance future executions of the piece.
4. Music: Interaction with composers, musicologists and music theorists is essential to dissect the compositional structure and theoretical underpinnings of Campi Instabili. Insights from these experts will clarify which musical elements are pivotal to the piece’s success, distinguishing artistic intentions from technological implementations. This will provide a comprehensive view of how the integration of music theory and technology converge to craft impactful acousmatic experiences.

By establishing these interdisciplinary collaborations, Campi Instabili can be explored in a new light, potentially leading to a robust theoretical framework that explains its successes and idiosyncrasies while guiding future explorations in acousmatic music. This broad, collaborative approach promises a deeper understanding and refined execution of auditory experiences in spatial sound synthesis. 

3 Conclusion

In summary, Campi Instabili represents a pioneering exploration at the intersection of advanced sound synthesis, architectural acoustics, and live performance dynamics. By integrating tetrahedral geometry within spherical loudspeaker arrays, the project has not only challenged traditional auditory experiences but also expanded the conceptual and practical frameworks within which sound art and music technology intersect with spatial perception and architectural design.
Looking ahead, the project sets the stage for further interdisciplinary studies, expanding the dialogue between music, electroacoustics, psychoacoustics, and acoustics.