DMRN+18: Digital Music Research Network One-day Workshop 2023

DMRN+18: Digital Music Research Network One-day Workshop 2023 Queen Mary University of London Tuesday 19th December 2023 • Keynote speaker: Stefan Bilbao The Digital Music Research Network (DMRN) aims to promote research in the area of digital music, by bringing together researchers from UK and overseas universities, as well as industry, for its annual workshop. The workshop will include invited and contributed talks and posters. The workshop will be an ideal opportunity for networking with other people working in the area. Keynote speakers: Stefan Bilbao Tittle: Physics-based Audio: Sound Synthesis and Virtual Acoustics. Abstract: Any acoustically-produced sound produced must be the result of physical laws that describe the dynamics of a given system---always at least partly mechanical, and sometimes with an electronic element as well. One approach to the synthesis of natural acoustic timbres, thus, is through simulation, often referred to in this context as physical modelling, or physics-based audio. In this talk, the principles of physics-based audio, and the various different approaches to simulation are described, followed by a set of examples covering: various musical instrument types; the important related problem of the emulation of room acoustics or “virtual acoustics”; the embedding of instruments in a 3D virtual space; electromechanical effects; and also new modular instrument designs based on physical laws, but without a counterpart in the real world. Some more technical details follow, including the strengths, weaknesses and limitations of such methods, and pointers to some links to data-centred black-box approaches to sound generation and effects processing. The talk concludes with some musical examples and recent work on moving such algorithms to a real-time setting.. Bio: Stefan is a Professor (full) at Reid School of Music, University of Edinburgh, he is the Personal Chair of Acoustics and Audio Signal Processing, Music. He currently works on computational acoustics, for applications in sound synthesis and virtual acoustics. Special topics of interest include: Finite difference time domain methods, distributed nonlinear systems such as strings and plates, architectural acoustics, spatial audio in simulation, multichannel sound synthesis, and hardware and software realizations. More information on: https://www.acoustics.ed.ac.uk/group-members/dr-stefan-bilbao/ DMRN+18 is sponsored by The UKRI Centre for Doctoral Training in Artificial Intelligence and Music (AIM); a leading PhD research programme aimed at the Music/Audio Technology and Creative Industries, based at Queen Mary University of London

Transfer-Plausibility of Binaural Rendering with Different Real-World References

For the evaluation of virtual acoustics for mixed realities, we distinguish between the paradigms "authenticity", "plausibility" and "transfer-plausibility". In the case of authenticity, discrimination tasks between real sound sources and virtual renderings presented over headphones are performed, whereas in case of a plausibility experiment, listeners need to rely only on their expectation of a sound when listening to the rendering, without the presence of an explicit reference. In the case of transfer-plausibility, however, different real sources are active alongside virtual sources, potentially in different spatial locations, leading to a certain degree of comparability. This resembles the case of forthcoming augmented reality systems. Here, we show an experiment, which assesses the transfer-plausibility of rendered speech sources in a variable acoustic environment. We demonstrate the influence of the similarity between real and virtual source material and their spatial location on the transfer-plausibility of measurement-based headphone rendering.Non peer reviewe

Spatial Sound Rendering – A Survey

Simulating propagation of sound and audio rendering can improve the sense of realism and the immersion both in complex acoustic environments and dynamic virtual scenes. In studies of sound auralization, the focus has always been on room acoustics modeling, but most of the same methods are also applicable in the construction of virtual environments such as those developed to facilitate computer gaming, cognitive research, and simulated training scenarios. This paper is a review of state-of-the-art techniques that are based on acoustic principles that apply not only to real rooms but also in 3D virtual environments. The paper also highlights the need to expand the field of immersive sound in a web based browsing environment, because, despite the interest and many benefits, few developments seem to have taken place within this context. Moreover, the paper includes a list of the most effective algorithms used for modelling spatial sound propagation and reports their advantages and disadvantages. Finally, the paper emphasizes in the evaluation of these proposed works

Proceedings of the EAA Joint Symposium on Auralization and Ambisonics 2014

In consideration of the remarkable intensity of research in the field of Virtual Acoustics, including different areas such as sound field analysis and synthesis, spatial audio technologies, and room acoustical modeling and auralization, it seemed about time to organize a second international symposium following the model of the first EAA Auralization Symposium initiated in 2009 by the acoustics group of the former Helsinki University of Technology (now Aalto University). Additionally, research communities which are focused on different approaches to sound field synthesis such as Ambisonics or Wave Field Synthesis have, in the meantime, moved closer together by using increasingly consistent theoretical frameworks. Finally, the quality of virtual acoustic environments is often considered as a result of all processing stages mentioned above, increasing the need for discussions on consistent strategies for evaluation. Thus, it seemed appropriate to integrate two of the most relevant communities, i.e. to combine the 2nd International Auralization Symposium with the 5th International Symposium on Ambisonics and Spherical Acoustics. The Symposia on Ambisonics, initiated in 2009 by the Institute of Electronic Music and Acoustics of the University of Music and Performing Arts in Graz, were traditionally dedicated to problems of spherical sound field analysis and re-synthesis, strategies for the exchange of ambisonics-encoded audio material, and – more than other conferences in this area – the artistic application of spatial audio systems. This publication contains the official conference proceedings. It includes 29 manuscripts which have passed a 3-stage peer-review with a board of about 70 international reviewers involved in the process. Each contribution has already been published individually with a unique DOI on the DepositOnce digital repository of TU Berlin. Some conference contributions have been recommended for resubmission to Acta Acustica united with Acustica, to possibly appear in a Special Issue on Virtual Acoustics in late 2014. These are not published in this collection.European Acoustics Associatio

Modelling Acoustics in Ancient Maya Cities: Moving Towards a Synesthetic Experience Using GIS & 3D Simulation

Archaeological analyses have successfully employed 2D and 3D tools to measure vision and movement within cityscapes; however, built environments are often designed to invoke synesthetic experiences. GIS and Virtual Reality (VR) now enable archaeologists to also measure the acoustics of ancient spaces. To move toward an understanding of synesthetic experience in ancient Maya cities, we employ GIS and 3D modelling to measure sound propagation and reverberation using the main civic-ceremonial complex in ancient Copán as a case study. For the ancient Maya, sight and sound worked in concert to create ritually-charged atmospheres and architecture served to shape these experiences. Together with archaeological, iconographic, and epigraphic data, acoustic measures help us to (1) examine potential locations of ritual performance and (2) determine spatial placement and capacity of participants in these events. We use an immersive VR headset (Oculus Rift) to integrate vision with spatial sound and sight to facilitate an embodied experience

The Acoustics of the Choir in Spanish Cathedrals

One of the most significant enclosures in worship spaces is that of the choir. Generally, from a historical point of view, the choir is a semi-enclosed and privileged area reserved for the clergy, whose position and configuration gives it a private character. Regarding the generation and transformation of ecclesial interior spaces, the choir commands a role of the first magnitude. Its shape and location produce, on occasions, major modifications that significantly affect the acoustics of these indoor spaces. In the case of Spanish cathedrals, whose design responds to the so-called “Spanish type”, the central position of the choir, enclosed by high stonework walls on three of its sides and with numerous wooden stalls inside, breaks up the space in the main nave, thereby generating other new spaces, such as the trascoro. The aim of this work was to analyse the acoustic evolution of the choir as one of the main elements that configure the sound space of Spanish cathedrals. By means of in situ measurements and simulation models, the main acoustic parameters were evaluated, both in their current state and in their original configurations that have since disappeared. This analysis enabled the various acoustic conditions existing between the choir itself and the area of the faithful to be verified, and the significant improvement of the acoustic quality in the choir space to become apparent. The effect on the acoustic parameters is highly significant, with slight differences in the choir, where the values are appropriate for Gregorian chants, and suitable intelligibility of sung text. High values are also obtained in the area of the faithful, which lacked specific acoustic requirements at the time of construction

Acoustics of Sequential Spaces

“Sequential spaces” are spatial systems comprising multiple spaces in sequence connected by openings, common in public spaces with crowd transit (e.g., museums, shopping malls, and transportation hubs). Related to sound diffraction and insulation, this thesis aims to achieve a minor breakthrough in architectural acoustics through establishing disciplines, not focusing on a single or performance space, but targeting large-scale buildings with a listener in motion. The necessity of applying good practice in asymmetric dynamic auditory perception between approaching and receding sound sources, and inconsistent sound attenuation with distance for separating partitions of same construction is demonstrated by subjective and objective outcomes through real and virtual acoustics. The first stage observes dynamic auditory perception of noise as a stationary primary sound source in a museum. The asymmetry of the loudness and listener envelopment between approaching and receding sources occurs with broadband noise. Perceptual priority increases with a rising level. The second stage confirms sound attenuation with distance in accordance with the needs of users (connected room volume, individual room volume, source position, and room absorption) in practice. As connected room volume increases, average sound pressure level is remained for rooms originally connected, while reverberation time generally decreases. The level difference between source and first receiving room is magnified to 1.5 times the sequential one. The third stage explores sound attenuation with distance when parameters of contextual (opening dimension and position, number of rooms), acoustic (absorption coefficient and distribution) and source (directional radiation from the opening and an additional source) factors are efficient in predictions based on finite element method. The final stage examines dynamic auditory perception of voice and music with or without background noise through a validated reproduction of virtual environment. Three perceptual distinctions emerge between approaching or receding sound sources and are defined as approach, plummet, and convergence effect