Dear friend,
The watermelons were busy. Like really busy. And it’s well overdue. So, let’s make this one sweet and short, and in the next weeks I’ll share more on the subjects telegraphed here.
I never designed a single instrument. It’s always been a parametrically-designed family, with a plan to first test edge cases. That’s ticked off now.
Last year I built the commercial (polished, market-ready) version of The Rebel - our smallest spatial sound instrument honoring the development of the “393” by Stefan Riedel at IEM. It’s here, it’s shiny. I have one available with no wait time, so holler at me before it’s gone.
Last year’s build was also a 24-ch mid-large-sized Svarog24 - high spatial resolution and projection with the most even layout of 6-6-6-6 drivers. I used it across a range of compositions and enjoyed the overall performance.
Also last year I did produce all the components for the largest of all arrays - the Perun24. But the time to put it finally together came in Feb, when I was invited to premiere it at the Dolby Atmos and Immersive Sound workshops organized at Turkusowa Wyspa by Chris Winter.
On the tech side, how does it differ from the Svarog24? It’s bigger and better. Ø48cm vs Ø56 of Perun may not seem a lot, but truly is. Not only the drivers are much larger ensuring much stronger projection, but the weight is almost double that of the Svarog24.
Architectural difference is 4-8-8-4 layout maximizing horizontal plane resolution, reaching up to 7th ambisonic order resolving power. You can hear it.
Since Feb, Perun has become the favourite instrument of mine, used across a range of residencies, trips, conferences and performances. To my knowledge, that’s the most advanced and highest resolution spherical beamforming array in existence. And nothing stands in a way of extending it to 32-ch architecture.
GoSpatial 2025 was announced last year for the launch of Slovox beamformers. We awarded the residency to Rob Parton aka Arconic and spent a great week in our studio in March jamming, experimenting and even playing a concert.
Although we don’t run sponsored programs anymore, we recently introduced an offer of reasonably priced studio visits and residencies. Perhaps that’s a great idea for a working holiday for you.
Rencontres Acousmatiques 2026 gathers the most established and probably the reatest acousmatic music composers alive today. Taking place annually in the medieval castle ranch, home to Crane Lab, Bourgogne, France, the event is an unrivaled informal exchange of perspectives, listening of the most daring sound systems in existence and roundtables.
It was an honor for me to meet and learn from such great human as Jean Voguet & Yuko Katori, Jean-Marc Duchenne, Marc Favre and my generation of artists and composers attending.
Half of the program was performed on the Perun24 and we held days of listening sessions, comparative listening, adaptations, experiments and roundtables.
Seeing my instrument not just holding in such an experienced environment, but also piquing interest and curiosity is an honor.
We’re planning a summer batch of beamformers to be built. If you’re considering one, the time to talk is now.
There are several prototypes that may change hands, making it a great opportunity to get a founder-edition instrument, and become part of the story.
Studio visits are open, so feel free to come over, listen and work with the gear.
In Autumn, meet us at Raum + Klang in Germany, organized by Zimmt. Details coming.
As always, open to invitations, serious collabs, and joint biz-dev.
Create, don’t compete
Patrick
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