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We elaborate on the feature of reproducibility and random access in the process of electroacoustic composition. Random access has an intrinsic relationship to concrete sound material by means of the cutting operation. We propose a concise model of the electroacoustic composition process and within it locate the importance of random access. Random access is then interpreted in the light of real-...

This article describes the process of composing an electroacoustic music piece using a 5.1 surround sound system for studio monitoring and diffusion in a concert hall. Specific spatial ideas explored in the composition of the piece are explained in connection to the possibilities offered by this system, as well as to its limitations. Considerations are outlined regarding the quality of the spat...

The pressure-based, current-driven impedance control technique known as “Electroacoustic Absorption” has offered new horizons for room modal equalization at low frequencies, steerable anomalous reflection, acoustic transmission attenuation and non-reciprocal wave propagation. Nevertheless, its level of performance is strongly limited by stability constraints. A primary source instability the lo...

Electroacoustic devices or systems transfer functions are usually described by means of amplitude and phase Bode plots. They are obtained from usually large data series of excitation and response values. Acoustic set-up requirements vary considerably, from normal room to anechoic conditions, from complex instrumentation to simple sweeping ensembles. Filter frequency analysis, cross-spectral est...

Starting from the assumption that meaning in electroacoustic music is an outcome of the listener’s mental processes, it is the goal of this essay to explicate the mental processes whereby feeling and emotion contribute to meaning when listening to electroacoustic music. This essay begins with a broad consideration of feeling and emotion with an eye toward artistic experience, spanning from basi...