Perceptual sound field synthesis concept for music presentation

A perceptual sound field synthesis approach for music is presented. Its signal processing implements critical bands, the precedence effect and integration times of the auditory system by technical means, as well as the radiation characteristics of musical instruments. Furthermore, interaural coherence, masking and auditory scene analysis principles are considered. As a result, the conceptualized sound field synthesis system creates a natural, spatial sound impression for listeners in extended listening area, even with a low number of loudspeakers. A novel technique, the “precedence fade”, as well as the interaural cues provided by the sound field synthesis approach, allow for a precise and robust localization.Simulations and a listening test provide a proof of concept. The method is particularly robust for signals with impulsive attacks and long quasi-stationary phases, as in the case of many instrumental sounds. It is compatible with many loudspeaker setups, such as 5.1 to 22.2, ambisonics systems and loudspeaker arrays for wave front synthesis. The perceptual sound field synthesis approach is an alternative to physically centered wave field synthesis concepts and conventional, perceptually motivated stereophonic sound and benefits from both paradigms

Silent chill: A spectral analysis of Akira Yamaoka’s Silent Hill 2 original soundtrack

Silent Hill 2 (2001) is a psychological-survival horror game for the Sony Playstation 2 console, described as one of the greatest video games of all time. The game, as well as the original soundtrack by Akira Yamaoka, continue to have an active and dedicated cult following, with the soundtrack garnering millions of plays across streaming platforms. In particular, the ambient pieces in the soundtrack are very popular, colloquially described altogether as Silent Chill. Despite its popularity, few have systematically described the soundtrack’s unique characteristics or its ongoing influence and relevance to soundtrack composition today. It is suggested that timbral analysis can clarify some aspects of its mysterious appeal. A timbral-analytical framework adapting Lavengood’s (2017) spectrogram-based method and Blake’s (2012) culturally informed method is proposed and undertaken. The analyses find that the Silent Chill pieces are characterised by predominantly ‘dark’ timbres, inharmonicity, beating harmonics, and a spectral and auditory fullness due to overlapping and clashing frequencies between instruments. This framework, despite some limitations which are discussed, is found to be comprehensive and adequate for the timbral analysis of pieces in the style of Silent Chill, and can be adapted for other styles of soundtrack and ambient composition