Showing the acousmatic sounds through the mobile acousmonium AUDIOR

According to François Bayle, acousmatic medial art takes the form of a work on the image- sound and the 'reading' of listening; in fact, not only the acousmatic listening in concert is aimed at adapting the 'internal space' of a work to a specific place, but it aims also at the exploration of a sound event, regardless of its origin and its meaning (Bayle, 2007). Thanks to different sound projection systems, the characteristics of different acoustic environments can be channeled towards a single public listening space. Nevertheless, there is a great variety of systems and concepts related to "show" acousmatic sounds. According to Ludger Brummer, while the ambisonic technique and the wavefield synthesis follow a scientific path that tries to create tools to arrive at a reproducible localization, the acousmonium employs a combination of space, pitch and sound density, able to reproduce effectively in a concert hall the internal space of a work. Both the acousmonium and the ambisonic techniques work with massive and parallel vibrations of membranes, but while with an ambisonic system the phase of the sound is controlled to create a point of localization, with the acousmonium it is possible to create sort of un-correlation between the sounds through the arrangement of the different speakers, in order to enrich the frequencies with phase convergence points for the ear (Brummer, 2006). This paper will show the characteristics of the AUDIOR acousmonium