Virtual Acoustics at the Service of Music Performance and Recording

• Autorzy: Woszczyk W. , Ko D. , Leonard B.
• Języki publikacji: EN

Abstrakty

EN

Virtual or active acoustics refers to the generation of a simulated room response by means of elec- troacoustics and digital signal processing. An artificial room response may include sound reflections and reverberation as well as other acoustic features mimicking the actual room. They will cause the listener to have an impression of being immersed in virtual acoustics of another simulated room that coexists with the actual physical room. Using low-latency broadband multi-channel convolution and carefully measured room data, optimized transducers for rendering of sound fields, and an intuitive touch control user in- terface, it is possible to achieve a very high perceived quality of active acoustics, with a straightforward adjustability. The electroacoustically coupled room resulting from such optimization does not merely produce an equivalent of a back-door reverberation chamber, but rather a fully functional complete room superimposed on the physical room, yet with highly selectable and adjustable acoustic response. The utility of such active system for music recording and performance is discussed and supported with examples.

Słowa kluczowe

EN

virtual acoustics; active acoustic architecture; room acoustics; room impulse respons; low-latency convolution; performer-room interaction; music recording; acoustic enhancement; active acoustics

• Wydawca: Instytut Podstawowych Problemów Techniki PAN ; Komitet Akustyki PAN ; Polskie Towarzystwo Akustyczne
• Czasopismo: Archives of Acoustics
• Rocznik: 2012
• Tom: Vol. 37, No. 1
• Strony: 109--113
• Opis fizyczny: Bibliogr. 11 poz., fot., wykr.

Twórcy

autor

Woszczyk W.

autor

Ko D.

autor

Leonard B.

• CIRMMT, Schulich School of Music, McGill University, Montreal, QC Canada H3A 1E3,

Bibliografia

• 1. Alpkocak A., Sis M.K. (2010), Computing impulse response of room acoustics using the ray-tracing method in time domain, Archives of Acoustics, 35, 4, 505-519.
• 2. Anderegg R., Franke U., Felber N., Fichtner W. (2004), Implementation of High-Order Convolution Algorithms with Low Latency on Silicon Chips, Paper 6304, AES 117th Conv., San Francisco, Oct. 28-31.
• 3. Gołaś A., Suder-Dębska K. (2009), Analysis of Dome Home Hall theatre acoustic field, Archives of Acoustics, 34, 3, 273-293.
• 4. Kawakami F., Shimizu Y. (1990), Active field control in auditoria, Appl. Acoust., 31, 47-75.
• 5. McGill University website. TheVirtualHaydn.com (2009).
• 6. Poletti M.A. (2010), Active Acoustic Systems for the Control of Room Acoustics, Proceedings of the International Symposium on Room Acoustics, ISRA2010, 29-31 August 2010, Melbourne, Australia.
• 7. Svensson P. (1996), On reverberation enhancement in auditoria, Ph.D. Dissertation, Chalmers Univ. of Technology, Gothenburg, Sweden.
• 8. Woszczyk W., Ko D., Leonard B. (2009a), Convolution-based virtual concert hall acoustics using aural segmentation and selection of multichannel impulse responses, [in:] The Proceedings of INTER-NOISE 2009, The 38th International Congress and Exposition on Noise Control Engineering, Ottawa, Canada, August 23-26.
• 9. Woszczyk W., Beghin T., de Francisco M., Ko D. (2009b), Recording Multichannel Sound Within Virtual Acoustics, Paper Number 7856, Proceedings of the 127th Convention of Audio Engineering Society, New York, NY, USA. October 9-12, 2009. ISBN: 978-0-937803-71-4.
• 10. Woszczyk W., Leonard B., Ko D. (2010), Space Builder - an impulse response-based tool for immersive 22.2 channel ambiance design, Proceedings of the AES 40th International Conference, Tokyo, Japan, October 8-10.
• 11. Woszczyk W. (2011), Active acoustics in concert halls - a new approach, Archives of Acoustics, 36, 2, 379-393.