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...ding position was chosen to enhance performance aesthetics; in this position, fine motor control is best achieved with a hand position 50-100mm above elbow height and within the ‘normal working area’ =-=[15]-=- which equates to approximately one forearm’s span from the body. Hence the working volume chosen is a cube of approximately 0.4m centered directly in front of abdomen, and the audio scene is scaled a...

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...pping research also tending to focus on instrumental richness, rather than the intelligibility of the mapping.sHistorically, the use of VR as an expressive medium has concentrated on visual art, e.g. =-=[8]-=-. To date, there has been little experimental research on the use of VR interfaces for sound control [1],[10]. The DIVA system [6] was among the first to use VR for musical performance. A VR evaluatio...

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...iversity of Technology, introducing concepts such as a virtual air guitar [9]. Spatial perception and rendering of sound is well understood, ranging from amplitude panning approaches [16], Ambisonics =-=[4]-=- to large speaker arrays for rendering wave fields or head-related transfer function methods predominantly used with headphones. Virtual reality toolkits usually include some form of spatial sound ren...

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...reality technology. It builds upon technology and interaction paradigms developed independently in the two fields. There is a wealth of research literature concerning novel musical interface devices; =-=[14]-=- includes a comprehensive overview. Many artists have successfully employed VR-gloves and non-contact sensing in live performance; examples of early innovation being the work carried out at STEIM, and...

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...ndering system spatializes the audio source objects using a volume panning approach, deriving the data from the scene graph. All audio sources are rendered using the blue-c API sound rendering system =-=[13]-=- that supports spatialization of a large number of sound sources with arbitrary speaker configurations. The audio system supports audio file playback either from memory (e.g. for short loops), streami...

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...lly employed VR-gloves and non-contact sensing in live performance; examples of early innovation being the work carried out at STEIM, and by Jaron Lanier and Tod Machover. In the areas of mapping [3],=-=[5]-=- and visualization of sound, experimental research is relatively sparse, with mapping research also tending to focus on instrumental richness, rather than the intelligibility of the mapping.sHistorica...

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... all sound sources. This essentially provides multiple instances of the user interface to a single audio rendering system. The synchronization is based upon the blue-c Distributed Scene Graph (bcDSG) =-=[11]-=- that synchronizes the scene graph data structure across multiple machines and manages concurrency issues including locking to make sure no two users can modify the same object concurrently. Although ...

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...g.sHistorically, the use of VR as an expressive medium has concentrated on visual art, e.g. [8]. To date, there has been little experimental research on the use of VR interfaces for sound control [1],=-=[10]-=-. The DIVA system [6] was among the first to use VR for musical performance. A VR evaluation framework has been built at the Helsinki University of Technology, introducing concepts such as a virtual a...

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...ssfully employed VR-gloves and non-contact sensing in live performance; examples of early innovation being the work carried out at STEIM, and by Jaron Lanier and Tod Machover. In the areas of mapping =-=[3]-=-,[5] and visualization of sound, experimental research is relatively sparse, with mapping research also tending to focus on instrumental richness, rather than the intelligibility of the mapping.sHisto...

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...se of VR as an expressive medium has concentrated on visual art, e.g. [8]. To date, there has been little experimental research on the use of VR interfaces for sound control [1],[10]. The DIVA system =-=[6]-=- was among the first to use VR for musical performance. A VR evaluation framework has been built at the Helsinki University of Technology, introducing concepts such as a virtual air guitar [9]. Spatia...

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...t the Helsinki University of Technology, introducing concepts such as a virtual air guitar [9]. Spatial perception and rendering of sound is well understood, ranging from amplitude panning approaches =-=[16]-=-, Ambisonics [4] to large speaker arrays for rendering wave fields or head-related transfer function methods predominantly used with headphones. Virtual reality toolkits usually include some form of s...

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...e user interface to modify the scene; and the audio rendering system (see Fig. 1). The audio rendering system as well as the “glue”-code required to combine the elements is provided by the blue-c API =-=[12]-=-, a virtual reality toolkit originally designed for collaborative and tele-presence applications. User interface Synchronization Fig. 1. System overview. 3.1 User Interface Scene graph Audio renderer ...

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...pping.sHistorically, the use of VR as an expressive medium has concentrated on visual art, e.g. [8]. To date, there has been little experimental research on the use of VR interfaces for sound control =-=[1]-=-,[10]. The DIVA system [6] was among the first to use VR for musical performance. A VR evaluation framework has been built at the Helsinki University of Technology, introducing concepts such as a virt...

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... system [6] was among the first to use VR for musical performance. A VR evaluation framework has been built at the Helsinki University of Technology, introducing concepts such as a virtual air guitar =-=[9]-=-. Spatial perception and rendering of sound is well understood, ranging from amplitude panning approaches [16], Ambisonics [4] to large speaker arrays for rendering wave fields or head-related transfe...