Output details

Philomela

Electronic sound processing for CD recording of opera by James Dillon

The central research issue in this project was to find a means of enhancing the spatial and other audio effects from the live electronics used in the performances of James Dillon’s opera ‘Philomela’. Faia had created the extensive audio treatments and interactive multi-speaker spatialisation for the 2004 premiere of the opera, but for the commercial CD recording of the work in the newly constructed Casa da Música in Porto the 3D sound diffusion and live electronics had to be re-designed so that all sounds could be better represented within a stereo panorama.

In ‘Philomela’ Faia’s soundscape deploys recorded voices, birds, thunder and other elements, spatialised around the audience in real-time. Live sound from the orchestra is also spatialised in real-time. Apart from the IRCAM SPAT (Room Acoustics Simulation and Localisation Solution) tool, all programming and design is by Faia and includes a specially designed multi-tap dynamic delay, modified granular synthesis and dynamic filtering. All sounds are then diffused through the SPAT. While the samples and live sound sources are either mono or stereo, the treatment through the SPAT places them statically or dynamically on multiple speakers throughout the hall.

For the CD recording, Faia reduced the points of diffusion (without the sub) from five to two (transaural). This was done in part by reducing some of the psychoacoustic reverberation effects and re-routing the SPAT outputs. This flattens the 3D design but keeps the dynamic movement in a form that is acceptable for stereo CD. The recording was done first and then re-treated with the patch in the studio, some parts – the cello and double bass duet beginning at measure 390, for example, originally spatialised around the public in the performance space – requiring particular attention.

The CD won the Orphée d'or for best lyrical recording of the 21st century.