Perspectives on Music Production: 3-D Audio
Posted: March 11th, 2019 | Filed under: Calls for Papers | Comments Off on Perspectives on Music Production: 3-D AudioArguably the most rapidly expanding area of audio production is that of 3-D audio – surround sound with representation of height. Such playback is increasingly commonplace in cinemas, and multi-speaker home setups and sound-bars are following. In parallel, headphone-based 360° spatial audio is experiencing huge growth, and the technologies that underpin this are steadily improving. Such listening is being driven by virtual and augmented reality, and beyond gaming, soon such applications will proliferate into many areas of daily life – from productivity to education, through social networking to music playback.
Within 3-D audio, there exists an extensive and diverse range of specialist commercial disciplines – each also with corresponding academic communities. These include 360° video-content-creators to architects, post-production creatives to game designers, musicians to hardware manufacturers, and many more. In the background, there are numerous strands of scientific research empowering such applications: sound recording, psychoacoustics, software design, architectural space modelling and more.
This book will contain a mixture of chapters on both practice-led applications and technical/scientific treatments.
The editors welcome abstracts for proposed chapters in a forthcoming Routledge edited-volume entitled ‘3-D Audio’. The scope for contribution areas are listed below – all of these are with regard to 3-D audio. These areas are not exclusive.
- 360° video
- ambisonics
- architecture
- audio for virtual/augmented/mixed-reality
- audio for games
- binaural/spatial-audio engineering
- broadcast and object-based approaches
- cinema-sound/post-production
- codecs
- content-creation
- digital signal processing
- education
- electroacoustic music
- future trajectories
- hardware and software development and manufacture
- human-computer interaction
- installations and sonic art
- live sound/room acoustics
- music perception/cognition
- music mixing/production
- psychoacoustics
- spatial music-composition
- recording
- state of the art
- virtual acoustic modelling
Please submit an abstract of 500-750 words to [email protected]
Please also include a biog of 200-300 words.
Should you have any questions, please email this address.
Dates and Deadlines
Submission of abstracts for consideration: 5 April 2019
Authors notified if abstract accepted or rejected: 18 April 2019
Chapters to be submitted in full (including release forms): 15 November 2019
Completion of review/edit process: 10 January 2020
Any required author-amendments completed by: 14 February
Holistic review by series editors then submission to Routledge: 24 April 2020
Production process: May – July 2020
Print/Distribution: September – October 2020
About the Perspectives On Music Production Series
Perspectives On Music Production (POMP) is a series of edited and monograph volumes reflecting a multitude of disciplines, practices and ideas under the contemporary term ‘music production’ Other edited volumes include Mixing Music and the soon to be released Producing Music. Monograph and other calls can be found at www.hepworthhodgson.com
Please note that Routledge do not offer financial remuneration to their contributors.
Volume Editors
Prof. Justin Paterson, London College of Music | University of West London, UK
Dr Hyunkook Lee, University of Huddersfield, UK
Series Editors
Dr Jay Hodgson, Western University, Canada
Dr Mark Marrington, York St John University, UK
Russ Hepworth-Sawyer, York St John University, UK