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3-D Sound and Spatial Audio

3-D Sound and Spatial Audio

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3-D Sound and Spatial Audio

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  1. 3-D Sound and Spatial Audio MUS_TECH 348

  2. Environmental Acousticsand Computational Simulation

  3. Indirect Sound Indirect sound exists in all environments though we may not attend to it consciously.

  4. Large-Space Acoustics We are most able to attend to indirect sound in large-spaces like concert halls or cathedrals. Reverberation time is the duration in which the indirect sound decreases to -60 dB of the direct sound.

  5. Large-Space Acoustics Typical reverberation times:

  6. Different kinds of music and sound are best presented with different reverberation times. Large-Space Acoustics

  7. Large-space Acoustics Indirect sound that reflects off of one wall is called a first-order reflection, off two walls a second-order reflection, etc. As the density of reflections increases, the higher-order reflections merge into the continuous sound with at least 1000 reflections/sec we call reverberation or the late field.

  8. Reverberation Simulation By 1963 Manfred Schroeder has perfected the first digital reverberator. His purpose was to simulate concert hall acoustics including a multiple delay line to simulate the initial first- and second-order reflections.

  9. Schroeder Reverberator decay density Schroeder’s basic building blocks were the delay line (a non-recursive comb filter), the recursive comb filter and the all-pass comb filter.

  10. -1 f f = SR/m Delay line: Non-recursive Comb Filter a K z-m amplitude response: (explains the name comb filer) impulse response K Ka t m samples

  11. Recursive Comb Filter K z-m b < 1 impulse response: amplitude response: -1 K f/2 Kb Kb2 Kb3 Kb4 t f m samples f = SR/m

  12. -b z-m b All-pass Comb Filter amplitude response is constant: (recursive and non recursive parts cancel each other) impulse response b b2 b3 b4 t f -b

  13. Schroeder Reverberator (density) Allpass Block diagram of a single channel (monophonic) reverberator recursive comb (decay)

  14. Schroeder Reverberator 29.7 msec c 37.1 c 5.0 1.7 A A 41.1 c density Two all-pass filters in series insure that there are 1000 reflections/sec. 43.7 c decay Four recursive comb filters in parallel determine the reverb time

  15. Early Reflections input delay buffer reverb output input early reflections a reverb t

  16. f + Summation of recursive comb filters should approximate a flat response f + f = f

  17. Problems a 1) Response is not flat f 2) t Impulse response has periodicities that produce pitch percepts periodic

  18. Air and wall absorption combine to create a reverberation time that is frequency dependent. For concert halls the low-frequency reverberation time is longer: Air and Wall Absorption

  19. Air and Wall Absorption Air absorption and the absorption of walls, seats and people help to shape the reverberation.

  20. Air and Wall Absorption In everyday environments the building materials have a strong impact on reverberation of the acoustic environment.

  21. Air and Wall Absorption K z-m LP b < 1 Moorer suggests putting low-pass filter in the feedback loop of the recursive comb filter in order to simulate air and wall absorption. This causes the high frequencies in the reverberation to die out before the low frequencies.

  22. Air & wall absorption filter Usually the low-pass filter inserted into the recursive comb filter is a first-order filter. Here is a second-order filter that is more accurate. Low-frequency loss (not present in concert halls but present in other kinds of construction) Power in dB Frequency in Hz (linear)

  23. simulated Comparison of simulated and actual rooms real

  24. Other methods for creating reverberation David Griesinger Lexicon modulating delays in reverb

  25. Lexicon-Style Reverb Predelay lowpass filters All-pass Combs Diffusion Modulated All-pass low-pass filter Delay All-pass Delay

  26. Waveguide Reverberation Feedback Matrix Julius Smith A Strautner & Puckette 1982 Jot & Chaigne 1991