Place sounds on a map, each with its own zone. Someone walks through and the mix recomposes — on headphones, in a room, or outdoors on foot.
There is nothing else to learn. The rest — headphones, loudspeakers, GPS — only changes how you listen to what you wrote here.
A recording, a piece of music, a voice. It becomes a point on the map, wherever you choose.
A circle, or any shape. That is where it can be heard, fading gradually — loud at the centre, gone at the edge.
With a mouse, a finger, or by actually walking. The mix recomputes at every step: what you hear depends on where you are.
Elsewhere, placing a sound in the field and spatialising it in a room are two separate toolchains. Here it is the same file.
Sound turns around your head. Nothing to install: a web address is enough, on a computer as on a phone.
Up to thirty-two loudspeakers, ambisonic or by zone. The same map, played at the scale of a place.
The map lies over real ground. You walk, and the soundscape changes because you changed street.
The audio outputs guide (in French) explains what to adapt from one kind of listening to another — and what does not adapt.
Each one opens in the browser. The drawing is the map itself: every dot is a sound, every size is its zone of influence.
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Sound as a work: signed, situated, written for a place and a date.
Sound as a document: it must outlive whoever collected it.
Four fields where the need already exists and the tool does not: hearing rather than reading a report.
Let people hear a development before and after, in a public meeting, instead of showing a decibel map nobody can read.
Thousands of hours of geolocated points analysed today only as curves: walk through them by ear, on the ground where they were captured.
Soundscapes that recompose with the hour, the season and the room — with no software to install in a care home.
A sound that points a direction, instead of a text that describes it.
The account is free, there is nothing to install, and your maps stay files you can take with you.