Uploaded July 2019 | Updated September 2026, 5 hours ago
crosstowntraffic2018.wordpress.com
This presentation took place as part of the conference Crosstown Traffic: Popular Music Theory and Practice, which was hosted by The University of Huddersfield from September 3 - 5 2018. This event combined the IASPM UK&Ireland Biennial Conference, the 13th Art of Record Production Conference (ARP), an ISMMS conference, and the additional participation of Dancecult.
A recurrent theme within popular music studies has been discussion of how the field can integrate different disciplines and professions, for example exploring both music and its context; involving both practitioners and researchers; and encouraging interdisciplinary and collaborative work. Many different issues make such approaches challenging, and various different popular music focused subject organisations have developed somewhat independently of one another. This conference brought four such groups together, to exchange knowledge, collaborate, and encourage crosstalk.
/// SUPPORT
Popular Music Studies Research Group (PMSRG), University of Huddersfield research.hud.ac.uk/pmsrg/#
Centre for Music, Culture and Identity (CMCI), University of Huddersfield
research.hud.ac.uk/institutes-centres/cmci
The International Association for the Study of Popular Music UK and Ireland Branch (IASPM UK & Ireland)
iaspm.org.uk
Association for the Study of the Art of Record Production (ASARP)
artofrecordproduction.com
Dancecult Research Network (DRN) studies into electronic dance music culture
dancecult-research.net
International Society for Metal Music Studies (ISMMS)
metalstudies.org
/// ORGANIZERS
IASPM UK&I: Rupert Till
ARP: Katia Isakoff, Shara Rambarran
ISMMS: Karl Spracklen
Dancecult: Graham St. John
University of Huddersfield: Jan Herbst, Austin Moore, Lisa Colton, Toby Martin, Catherine Haworth, Mark Mynett
/// CREDITS
This online project was edited, collated, and made available online by Chris McConnell, Jack Zissell, and Colin Frank.
/// PRESENTATION DETAILS
3D Audio for Music : Investigating 3D recomposition for binaural reproduction
Jo Lord – London College of Music, University of West London
Email: Jo.Lord@uwl.ac.uk
/// ABSTRACT
The research project investigates and explores the development, practical application and aesthetic suitability of 3D mix technique for record production, the current developments and changes in consumer listening behaviour and the demand for an aesthetic, affordable and convenient 3D audio reproduction. The practical element focuses on re-composing stereo pieces for 3D over headphone consumption using perceptually-motivated production, an Auro 13.1 speaker array and binaural decoders. The first objective analyses the translation differences between the 13.1 speaker reproduction and the binaurally decoded 3D versions, negotiating the practical and aesthetic adaptations required for mixing 3D for headphones using a multichannel speaker array and binaural encoding. An important and fundamental objective posing questions such as; ‘How should we mix 3D music for current user listening trends?’ “How will variation of encoder, headphone and listener affect the perceived musicality and 3D translation?” Research as practice takes an ecological focus in the development of 3D production technique. The study’s second objective investigates auditory perceptual phenomena, peripheral and kinetic staging, timbre, conceptual blending and sonic cartoons. Drawing upon questions such as; ‘How could we utilise 3D audio to benefit composition and music production?’ ‘How could we utilise our understanding of human perception to better 3D music production?’ and ‘How could we arrange a sound stage for 3D music?’ The translation of array to headphones and the creative 3D aesthetic are subjectively assessed in both 13.1 and 3D binaural playback during a series of randomised listening tests using a consistent sample of expert and non-expert consumer volunteers.’
crosstowntraffic2018.wordpress.com
This presentation took place as part of the conference Crosstown Traffic: Popular Music Theory and Practice, which was hosted by The University of Huddersfield from September 3 - 5 2018. This event combined the IASPM UK&Ireland Biennial Conference, the 13th Art of Record Production Conference (ARP), an ISMMS conference, and the additional participation of Dancecult.
A recurrent theme within popular music studies has been discussion of how the field can integrate different disciplines and professions, for example exploring both music and its context; involving both practitioners and researchers; and encouraging interdisciplinary and collaborative work. Many different issues make such approaches challenging, and various different popular music focused subject organisations have developed somewhat independently of one another. This conference brought four such groups together, to exchange knowledge, collaborate, and encourage crosstalk.
/// SUPPORT
Popular Music Studies Research Group (PMSRG), University of Huddersfield research.hud.ac.uk/pmsrg/#
Centre for Music, Culture and Identity (CMCI), University of Huddersfield
research.hud.ac.uk/institutes-centres/cmci
The International Association for the Study of Popular Music UK and Ireland Branch (IASPM UK & Ireland)
iaspm.org.uk
Association for the Study of the Art of Record Production (ASARP)
artofrecordproduction.com
Dancecult Research Network (DRN) studies into electronic dance music culture
dancecult-research.net
International Society for Metal Music Studies (ISMMS)
metalstudies.org
/// ORGANIZERS
IASPM UK&I: Rupert Till
ARP: Katia Isakoff, Shara Rambarran
ISMMS: Karl Spracklen
Dancecult: Graham St. John
University of Huddersfield: Jan Herbst, Austin Moore, Lisa Colton, Toby Martin, Catherine Haworth, Mark Mynett
/// CREDITS
This online project was edited, collated, and made available online by Chris McConnell, Jack Zissell, and Colin Frank.
/// PRESENTATION DETAILS
3D Audio for Music : Investigating 3D recomposition for binaural reproduction
Jo Lord – London College of Music, University of West London
Email: Jo.Lord@uwl.ac.uk
/// ABSTRACT
The research project investigates and explores the development, practical application and aesthetic suitability of 3D mix technique for record production, the current developments and changes in consumer listening behaviour and the demand for an aesthetic, affordable and convenient 3D audio reproduction. The practical element focuses on re-composing stereo pieces for 3D over headphone consumption using perceptually-motivated production, an Auro 13.1 speaker array and binaural decoders. The first objective analyses the translation differences between the 13.1 speaker reproduction and the binaurally decoded 3D versions, negotiating the practical and aesthetic adaptations required for mixing 3D for headphones using a multichannel speaker array and binaural encoding. An important and fundamental objective posing questions such as; ‘How should we mix 3D music for current user listening trends?’ “How will variation of encoder, headphone and listener affect the perceived musicality and 3D translation?” Research as practice takes an ecological focus in the development of 3D production technique. The study’s second objective investigates auditory perceptual phenomena, peripheral and kinetic staging, timbre, conceptual blending and sonic cartoons. Drawing upon questions such as; ‘How could we utilise 3D audio to benefit composition and music production?’ ‘How could we utilise our understanding of human perception to better 3D music production?’ and ‘How could we arrange a sound stage for 3D music?’ The translation of array to headphones and the creative 3D aesthetic are subjectively assessed in both 13.1 and 3D binaural playback during a series of randomised listening tests using a consistent sample of expert and non-expert consumer volunteers.’
