In addition to its primary function as a creative tool, the Acousmonef with its 80.4 volumetric loudspeakers system can welcome visitors/listeners during the warm season, allowing them to discover sound works in which the spatial dimension is an integral part of the composition.
These works are produced on a "fixed media", and like a film, they are played directly, without the need for some kind of interpretation. On the other hand, unlike cinema, the format in which they are produced can be highly variable, and goes far beyond surround sound or traditional concert spatialization modes.
This leads to a great wealth and diversity of forms and expressions, but can also complicates the question of distribution. The main problem for these works is still the scarcity of suitable events and facilities, all the more so as these are often only suitable for a specific spatial format.
This is where a prototype acousma theater like the Acousmonef, with its open design to all loudspeaker spaces, represents a privileged means of listening to these works in their full dimension, whatever their format, and potentially all year round.

So, listen to what?
My work, of course... which has developed over the last 35 years according to this concept, but also that of a number of composers who, over the time, have generously allowed their works to be shared in this way. Finally, in 2021, a network of independent broadcasters (International Network for the Diffusion of Recorded Electronic & Acousmatic Multichannel) has begun to be set up, and should gradually enable composers from all over the world to be heard a little more or a little better...

The pieces that can be heard at the Acousmonef (and in the acousmonhome) obviously represent only a small part of international multiphonic production, which itself is necessarily smaller than the stereophonic production of the past, nevertheless representative of this approach, which is increasingly predominant among new generations of artists. As for some important names that are still missing, I hope they'll soon be able to feature here too.
The acousmathèque des sons dans l'air is open to all lovers of acousmatic sound, inventive music and, in general, to anyone who's curious and ready to immerse themselves in the pleasure of complete listening. It can also be a resource for students and researchers whose knowledge of these works is generally limited, in the best cases, to binaural versions.
 

from may to october, on rendez-vous
(and also all the year in the acousmonhome : contact me)

adress : 5 rue du Chambon - 63650 La Monnerie-le-Montel (Puy-de-dôme) - France
contact : sonsdanslair@free.fr

The composition format of the works - their type and the number of spatial points where relevant - is indicated by the mention in brackets. The mention (i) indicates that they are also part of the inDream network.

Actually :

Patrick Ascione (i) : Espaces paradoxes (16), Énième (acousmonium 8)
François Bayle : Arc pour Gérard Grisey, Inventions, Petite polyphonie (acousmonium 8)
Hervé Birolini : Bass Exartikulation (écran 16), In Grid (grille 16), Corrélation (16)
Jean-Jacques Bénaily : À l'Est... Berlin (12)
Dominique Blanchemain : Bruissement de ruines, Ekstermo, Empreintes bruitales, La rumeur La nuit La ville, Le soir les ombres, Les corps fébriles, Rivage, Variations plastiques (cube 18)
Odile et André Boucher : Aquaphonie 2 (22)
Laurence Bouckaert (i) : Céphéides, Limen (acousmonium 8)
Margherita Brillada (i) : Indigo Aura (acousmonium 8)
Roland Cahen : Count basis, Rotations II, Wings winds, Kinetic design (cercle 8)
Alice Calm : Constellation 4 (cinéma 28), Message in a bottle (grille 18), Bella Perenis (arbre 18), Constellation 5 (cercle 8)
Bruno Capelle : Quatuors électroniques 1 et 2 (carré 4)
Vincent Carinola : Cielo Vivo, Historia (cercle 8), Cinq études pour une Odyssée, Concret DB (cercle 6)
Alejandro Casales (i) : Anthropocène (écran 8)
Daniel Courville : Pizza Automate (dôme O5), Test Tones (cercle 8)
Ana Dall'Ara-Majek : Akheta’s Blues, Pixel Springtail Promenade (dôme 16)
Alessandro De Cecco (i) : Primo Vere (cercle 8)
Stylianos Dimous (i) : L'osmose (dôme O5), De faux échos (cercle 8)
André Dion : Aucassin et Nicolette, Symphonie Indo-Européenne (acousmonium 8)
Francis Dohmont (i) : Vol d'arondes, Machin de machines (acousmonium 8)
Jean-Marc Duchenne (i) : Scènes de la réalité plus ou moins quotidienne (acousmonium 3D 16), Pré-histoire(s) (disque 16), Cinq portraits de Marie-Louise (NHK 22.2), Histoires fantacousmatiques (cinéma 42), Coquilles et bulles, Les paradoxes d'une sphère tronquée (dôme 47), Jeux de construction (cirque 32), La Cage (cirque 59), Préludes à l'espace, Voyages en Acousmonef (cirque 80) ...
Marc Favre (i) : L'illusion acoustique 9ème, 10ème et 11ème grimoires, Allèle 2 et 3 (acousmonium 3D 16 et 19), Allèle 4, La langue verte, Nocturnes, Les couleurs alchimiques (acousmonium 8)
José Fernandez : Fond diffus (3D 24)
Jakob Gille : La porta nel dado, Pong, Pendulum, Collage Nr. 8 (dôme O6)
Jean-Jacques Girardot : Trout (5)
Nat Grant (i) : Bubble (cercle 8)
Otto Iivari : Weightless (dôme O6)
Pierre-Alain Jaffrenou : Septième ciel (cercle 8)
Emanuelle Joly : Sur le seuil (carré 4)
Frédéric Kahn (i) : Climax (acousmonium 8)
Yuko Katori (i) : Concertino For The Stari Most (volume 32)
Panayiotis Kokoras (i) : AI Phantasy (dôme O5), Magic (16)
Simonluca Laitempergher : The Silent World (dôme O6)
Jean-Marc L'Hôtel : Les mots des poètes, 16 silences habités (dôme O3)
Grégory Marteau : Rituel Métallique (dôme O3)
Daniel Martin-Borret : Nous les garçons et les filles, Monades et Phonons (dôme 22)
Richard Maurel (i) : L'âge du faire,  (volume 32)
Daniel Mayer (i) : Matters (cercle 8)
Felix Mayer (i) : Capri Code (cercle 8)
Bertrand Merlier : L'ange (cercle 16)
Jean-François Minjard : Ligne Point Trace (21), Paysage un six aperçus (cinéma 17.1), D'un point l'autre (cube 34)
Philippe Moënne-Loccoz (i) : Particules 3 (dôme 16), Cristal-B, Mutation, Evigt Rotation, Le fantastique Hector B (cercle 8)
Luis Naon : Perspectives (dôme O4)
Jon Christoffer Nelson (i) : L'horloge imaginaire, Scatter, Illusory Lines (acousmonium 8)
Agnès Poisson : Étude aux reliefs (1), Mémoires d'air et de pierre (8)
Jaime Ries (i) : Fluxus pas trop haut dans le ciel (dôme 16)
Alexandre Roccas : Ressacs (acousmonium 22)
Alessio Rossato (i) : Caged Structures #4 (cercle 8)
Alain Savouret : L'arbre et caetera (carré 4)
Biétrix Schenk : Holly Dance (carré 4)
Valentin Sismann (i) : Résurrecson (cercle 8)
Nikos Stavropoulos (i) : Karst Grotto (dôme O3), Khemenu (dôme O6)
Ricardo Tesorini (i) : Hyper Real, Point Of Instability (dôme O3 et O7)
Matteo Tomasetti (i) : Njöror (cercle 8)
Roxane Turcotte (i) : Les oiseaux de nias (dôme étendu 39), Bestiaire (16), Alibi des voltigeurs (16)
Hans Tutschku : Firmament Schlaflos, Klaviersammlung (dôme 16), Agitated slowness, Zwei Raeume (dôme 24)
Annette Vande Gorne : Haiku de printemps (dôme 16)
Ernst van der Loo : Kýkloi alpha & beta (dôme O7)
Juan Carlos Vasquez (i) : A landscape of events (cercle 8)
Nicolas Vérin : Trois études d'espace (acousmonium 8)
Jean Voguet (i) : Oneriroi (volume 32), Odyssée Station 11, 12, 13, Gê (écran large 16)
Barry Wan (i) : The Five Elements (cercle 8)
Wei Yang : ní nán, a_voi(ce)_d (dôme O6)
Mixage Fou, divers auteur.e.s : Jane Addison, Julien Belon, Roman Bestion, Dominique Blanchemain, Pierre-Marie Blind, Laurence Bourdin, Annabel Brooks, Sylvain Buffet, Florian Carro, Eric Chevallier, Marthe Cunny, Philippe Donnefort, Ludovic Finck, Steve Heimbecker, Nicolas Germain, Jean-Jacques Girardot, Kevin Gironnay, Thierry Godard, Ozdemir Gorkem, Joseph Guarini, Jean-Marc L'Hotel, Anne Josselin, Kai Yves Linden, Marie Muller, Isabelle Nesme, Vincent Piponnier,  Charles Edouard Platel, Damien Plessis, Emmanuel Roux, Jean-François Sauve, Jasmine Scheuermann, Valentin Sismann, Jean-Marc Weber... ("surround", octophonie, Auro-3D, Dolby Atmos et ambisonique) 

notes :
- "l'Acousmathèque" is an initiative of François Bayle and was produced by INA-GRM; I had the honor of being the first guest in 1985...
- spatial formats are a bit like instrumental formations: it's not the number that determines the quality of the compositions, and all are equally interesting in their own right. But since the Acousmonef is openly on the side of the "great symphony orchestra", and "chamber" formats can be easily played elsewhere, I generally give preference to works with original formats and are more rarely heard.
- dome format with the mention "O" are coded in ambisonics and are played on all 47 periphonic points or on the 54 channels pseudo sphere. A slight upscaling can be applied for those whose order is less than 5.
- for works with no calibration level information, a R-128 normalization is applied.
- the Atelier 42 (or the "winter workshop"...) is my cold-season room. It follows the principle of the Acousmonef on a smaller scale (41.1) and with "domestic" acoustics, but it's perfectly capable of playing all the works of the Acousmathèque correctly.

Types of loudspeakers spaces :

visiophonic: projection of a spatial field image in relief by loudspeaker points located in front of the listeners (e.g. stereophony, L-Isa, partial acousmonium)
periphonic: projection of a two- or three-dimensional spatial field image by means of loudspeaker points located around the listeners (e.g. circle and dome)
holophonic: production of a three-dimensional spatial field by loudspeaker points located around and among the listeners (e.g. 4DSound, can be virtual with focused WFS)
volumetric: production of spatial forms in volume by means of loudspeaker points distributed in space and among the listeners (e.g. loudspeaker sculptures and certain installations, can be virtualized in video game engines)
+ binaural: simulation of an individual three-dimensional spatial field using a headphone

Certain types of space can be combined, such as visiophonic+periphonic (e.g. cinema and acousmoniums) and holophonic+volumetric (e.g. Acousmonef), or can be partly virtualized (e.g. IRCAM EsPro).