The quote from Pierre Boulez, given as an epigraph to this article, inspired French researchers to start developing technology for spherical loudspeaker arrays in the 1990s. The hope was to retain the naturalness of sound sources. Now, a few decades later, one might be able to show that even more can be done: In electroacoustic music, using the icosahedral loudspeaker array called IKO seems to enable spatial gestures that enrich alien sounds with a tangible acoustic naturalness. After a brief discussion of directivity-based composition in computer music, the first part of the article describes the technical background of the IKO, its usage in a digital audio workstation, and psychoacoustic evidence regarding the auditory objects the IKO produces. The second part deals with acoustic equations of spherical beamforming, how the IKO's loudspeakers are controlled correspondingly, how we deal with excursion limits, and the resulting beam patterns generated by the IKO.

中文翻译：

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使用墙壁反射的波束成形器：二十面体扬声器

作为本文题词的 Pierre Boulez 引述启发了法国研究人员在 1990 年代开始开发球形扬声器阵列技术。希望是保留声源的自然性。现在，几十年后，人们或许可以证明可以做更多事情：在电声音乐中，使用称为 IKO 的二十面体扬声器阵列似乎可以实现空间手势，通过有形的声学自然性丰富外星声音。在简要讨论了计算机音乐中基于指向性的作曲之后，本文的第一部分描述了 IKO 的技术背景、它在数字音频工作站中的使用以及有关 IKO 产生的听觉对象的心理声学证据。第二部分处理球形波束成形的声学方程，IKO'