The sound diffusion system plays a crucial role in the live performance of electronic music. Its development has been complex and ever-evolving, with several key systems shaping the field. This text explores three of the most influential systems in history: Acousmonium, Octaphonic, and BEAST.
Acousmonium
Known as the "Speaker Orchestra," Acousmonium was developed by François Bayle in 1974 and introduced by GRM (Groupe de Recherches Musicales). It was first used in a concert at the Saint Severin Church in 1974 (see Figure 1).
Figure 1: The first electronic concert using the Acousmonium system in 1974
Initially, the system featured 80 speakers of various sizes and models, using tapes for sound reproduction (see Figure 2). The speaker configuration varied depending on the composer's artistic vision. Sound diffusion was controlled via a mixer interface with faders, allowing precise control over each speaker. This complexity made it possible to route signals to multiple speakers, enabling overall amplitude control across the system.
Figure 2: Schematic of the Acousmonium system used in 1974
One of its most distinctive features is the use of asymmetric speaker arrays, which offered greater flexibility compared to other systems that typically favored symmetrical layouts. This adaptability has kept Acousmonium relevant, and it is still widely used today, including in performances at the INA-GRM and the Beijing International Electronic Music Festival (see Figure 3).
Figure 3: Paris Saint Germain concert using Acousmonium in 2015
Octaphonic
Also known as the eight-channel system, Octaphonic was designed to provide even sound coverage in all directions. Speakers were arranged in a circular pattern around the audience, ensuring balanced sound distribution. Over time, this system became popular among composers and performers, leading to the creation of many notable works. One well-known application was the "Streams" piece by Jonty Harrison, performed using a setup called BEAST (see Figure 4).
Figure 4: BEAST's main eight-speaker configuration
Scott A. Wyatt, former chairman of the Electroacoustic Music Society, noted that the eight-channel system could be configured in two main ways: a circular array or a rectangular one. The circular layout allowed for easier control of sound direction without worrying about stereo image issues, while the rectangular arrangement offered more dynamic movement of sound sources (see Figures 5 and 6).
Figure 5: Circular eight-channel speaker array proposed by Scott A. Wyatt
Figure 6: Rectangular eight-channel speaker array proposed by Scott A. Wyatt
BEAST (Birmingham Electro-Acoustic Sound Theatre)
Launched in 1982 by the University of Birmingham, BEAST was a large-scale sound diffusion system featuring over 100 loudspeaker channels. It included high-frequency speakers and subwoofers positioned above the audience, specifically designed for electronic music performances (see Figure 7).
Figure 7: Real-time view of the 48-channel BEAST system
The smallest configuration of BEAST was the "Main Eight" setup, consisting of four pairs of speakers. These were labeled as the No. 1 main pair, No. 2 side pair, No. 3 rear pair, and No. 4 remote pair (see Figure 4). The system also featured a custom 3D mixer, known as the "reverse mixer," which allowed for multi-channel output from a two-channel input (see Figure 8).
Figure 8: BEAST 3D mixer matrix routing diagram
Today, digital interfaces and MIDI faders have replaced analog mixers, offering more flexibility in controlling sound diffusion. Composers can now manage multiple eight-channel groups spread around the audience, with each fader controlling an entire group (see Figure 9).
Figure 9: Multi-group eight-channel system in BEAST
In summary, Acousmonium and Octaphonic represent two of the most influential systems in the evolution of electronic music. While Acousmonium emphasized flexibility and spatial diversity, Octaphonic focused on balanced sound coverage. BEAST, as a large-scale and advanced system, played a vital role in both composition and performance. These systems are not only interconnected but also continuously evolve alongside the art of electronic music. It’s important to remember that sound diffusion systems are tools meant to serve musical works, and their effectiveness depends on how they are tailored to meet the needs of the composer and engineer. Evaluating these systems independently of the music they support often leads to incomplete or misleading conclusions.
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STUDDED T POST, METAL FENCE POST |
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MEASUREMENT |
SPEC |
5` |
5.5` |
6` |
6.5` |
7` |
8` |
10ft or other customized length |
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pct/mt |
pct/mt |
pct/mt |
pct/mt |
pct/mt |
pct/mt |
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LIGHT DUTY |
0.95lb/ft |
464 |
422 |
386 |
357 |
331 |
290 |
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1.10lb/ft |
400 |
364 |
334 |
308 |
286 |
250 |
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REGULAR DUTY |
1.15lb/ft |
383 |
348 |
319 |
295 |
274 |
239 |
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|
1.25lb/ft |
352 |
320 |
294 |
271 |
252 |
220 |
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HEAVY DUTY |
1.33lb/ft |
331 |
301 |
276 |
255 |
237 |
207 |
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1.50lb/ft |
291 |
268 |
243 |
227 |
210 |
184 |
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| Y Post/ Star Picket/ Star Posts/ Y Fence Post | |||||||||
| Measurement | 0.45M | 0.60M | 0.90M | 1.35M | 1.50M | 1.65M | 1.80M | 2.10M | 2.40M |
| SPEC | PCS/MT | PCS/MT | PCS/MT | PCS/MT | PCS/MT | PCS/MT | PCS/MT | PCS/MT | PCS/MT |
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| 2.04kg/m | 1089 | 817 | 545 | 363 | 326 | 297 | 27 | 233 | 204 |
| the quantity of holes for Australia and Newzeanland | |||||||||
| Length | 0.45M | 0.60M | 0.90M | 1.35M | 1.50M | 1.65M | 1.80M | 2.10M | 2.40M |
| Holes (Australia) | 2 | 3 | 5 | 11 | 14 | 14 | 14 | 7 | 7 |
| Holes (New Zealand) | 7 | 7 | 7 |
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