3D Audio and Video Recording of fantaisie harmonique for Two Guitar Orchestras

3D Audio and Video Recording of fantaisie harmonique
for Two Guitar Orchestras

Jason Noble (Université de Montréal) [PI] with Martha de Francisco (McGill University) and Caroline Traube (Université de Montréal).
April 15th, 2020

Description:

We propose to create an advanced 3D audio and video recording of Jason Noble’s fantaisie harmonique for two guitar orchestras, which was premiered at the inaugural 21st Century Guitar Conference (August 2019, Ottawa, ON) with 3D projection art by Kurt Laurenz Theinert. The premiere was successful, but due to limited rehearsal time, many musical details in the score were not realized. The single-angle video recording does not capture the full effect of Theinert’s projection, and the live audio recording does not capture the spatial conception of the piece. Our project would create a more satisfactory rendition and would make a substantial contribution to the field of 3D rendering/spatialization of recorded instrumental music. If possible, we will adapt it into a VR experience with 180° video animation and 3D ambisonic spatialization, and a concert version with video projection and sound spatialization ideally suited for the new Constellation loudspeaker system in McGill’s MMR. Guitarist Steve Cowan, longstanding collaborator of Noble’s, will record all 12 guitar parts in multitrack. Denis Martin, PhD in Sound Recording and former student of ACTOR member Martha de Francisco, will be the sound engineer. Theinert will create projection art and/or video animation. Caroline Traube, ACTOR member and expert in guitar timbre, will advise the project and supervise UdeM students/personnel, including graduate student Simon Rouhier and Faculté de Musique employee Vincent Fillion (who worked on ACTOR’s ODESSA project), with additional guidance from ACTOR member Robert Normandeau, expert in electroacoustic spatialization.

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Path of Miracles – A multitrack recording in 3D audio to recreate choral blend

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ODESSA II: Orchestration and Re-Orchestration