Version 3.0 (not released yet)

Object-oriented multiple-inheritance system for implementing the SpatDIF model.

Thanks to advanced object-oriented programming features in OM, the hierarchical model of the descriptor space proposed in SpatDIF can be implemented as a structured system of classes following a multiple-inheritance scheme. The different layers of descriptors (Core Descriptors, Extensions, User-Extensions) are represented as abstract classes and inherited for a given spatial sound rendering class. The figure below illustrates the inheritance scheme for a VBAP class in OMPrisma.


On the left of the figure we see the inheritance scheme for Core Descriptors –which are common to all OMPrisma classes. At the top is the abstract superclass cs-evt with 2 slots describing the start time and duration of a rendering process (all rendering needs to start and end at some point). The class spat-evt inherits the slots from cs-evt and adds new slots for sound file playback parameters (every spatialization process requires a sound). The prisma-evt class inherits the slots from spat-evt and adds slots for describing sound source positions (every spatial sound source must be located somewhere). Prisma-evt contains all Core Descriptors and is the superclass for all spatial sound rendering classes in OMPrisma. We can also see 2 Extensions in the figure. Prisma-dist is another abstract superclass with slots for the control of perceptual distance cues (corresponding to the Distance Extension in SpatDIF). The superclass prisma-vbap (on the right of the figure) adds slots for parameters specific to VBAP (corresponding to the VBAP Extension in SpatDIF). The final OMPrisma spatial sound rendering class (OMPrisma VBAP class in the figure) inherits the Core Descriptors from prisma-evt, the Distance Extension from prisma-dist and the VBAP Extension from prisma-vbap. By means of this inheritance scheme a structured abstraction layer is implemented which reflects the hierarchical model proposed in SpatDIF, is consistent for all spatial sound rendering classes in OMPrisma, and can be easily extended with new ones. Combining this inheritance scheme with CSound functionalities for Macros and UDOs (User-Defined Opcodes) new spatial sound processors can be quickly prototyped and implemented thanks to code-abstraction and OO-programming.

Click here for OMPrisma project page on sourceforge


For publications please see the publications page.

Artistic Works (needs to be updated)

OMPrisma has been in use for over 10 years for the composition and realization of a variety of works, most notably:

  • “Continuous snapshots” by Sébastien Gaxie (2013). For piano and electronics.
    Commissioned by the Ircam ManiFeste Festival 2013. Premiered by David Lively on June 6th, 2013 at Centre Pompidou, Paris.
  • “Codex XIII” by Richard Barrett (2013). Improvisational structure for large ensemble and electronics. Commissioned by the Symposium Composing Spaces 2013, Royal Conservatory of Den Haag, Netherlands. Premiered April 12, 2013.
  • “Spielraum” by Marlon Schumacher (2013). For Violin, Cello, Digital Musical Instruments and Live Electronics. Commissioned by VGCS/CIRMMT for the Research-Creation Project “Les Gestes”, Montreal, Canada, March 2013.
  • “Spin” by Marlon Schumacher (2012). For extended V-Drums, Interactive Video and Live-Electronics.
    Commissioned by Codes D’Acces. Premiered at the “Prisma et Les Messagers” concert, Usine-C, Montreal, Canada, April 2012.
  • “Re Orso” by Marco Stroppa (? – 2011). Opera, Libretto by Catherine Ailloud-Nicolas and Giordano Ferrari after Arrigo Boito.
    Commissioned by Opéra Comique, Théâtre Royal de la Monnaie, Ensemble InterContemporain, Françoise and Jean-Philippe Billarant, IRCAM-Centre Pompidou, Paris. Premiere: May 19, 2011.
  • “Ab-Tasten” by Marlon Schumacher (2011). For computer-controlled piano, 4 virtual pianos, and spatial sound synthesis.
    Commissioned by CIRMMT. Premiered at the live@CIRMMT concert Clavisphere, Montreal, Canada, 2011.
  • “Cognitive Consonance” by Christopher Trapani (2010). For two plucked-string soloists, ensemble, and electronics.
    Commissioned by IRCAM. Premiered at the Agora festival, Paris, France, 2010.
  • “Construction” by Richard Barrett (2005-2011). For three vocalists, ensemble, and electronics.
    Commissioned by the Liverpool Capital of Culture, produced by HCMF, supported by Sound and Music and ELISION with the friendly support of Ernst von Siemens music foundation; also supported by British Council and SIAL/RMIT University (Australian Research Council). Premiered at the Huddersfield Contemporary Music Festival, UK, 2011.