AES Paris 2016
Paper Session P16
P16 - Recording and Production Techniques
Monday, June 6, 12:30 — 14:30 (Room 352B)
Chair:
Sonja Krstic, School of Electrical Engineering and Computer Science - Belgrade, Serbia
P16-1 Microphone Array Design Applied to Complete Hemispherical Sound Reproduction—From Integral 3D to Comfort 3D—Michael Williams, Sounds of Scotland - Le Perreux sur Marne, France
This paper describes the parameters that need to be taken into account in the design of a 13 channel microphone array recording system for reproduction also in a 13 loudspeaker hemispherical configuration. Both the microphone array and the loudspeaker array use 8 channels in the horizontal reference plane, 4 channels in the 45° elevation plane, and a Zenith channel at the top (90° elevation). This paper will also describe the various stages of advancement to complete 3D coverage (Integral 3D), and the logical development of this type of array to a new format proposition - the 16 channel “Comfort 3D format.”
Convention Paper 9569 (Purchase now)
P16-2 Object-Based Audio Recording Methods—Jean-Christophe Messonnier, CNSMDP Conservatoire de Paris - Paris, France; Jean-Marc Lyzwa, CNSMDP - Paris, France; Delphine Devallez, Arkamys - Paris, France; Catherine De Boisheraud, CNSMDP - Paris, France
The new ADM standard enables to define an audio file as object-based audio. Along with many other functionalities, the polar coordinates can be specified for each audio object. An audio scene can therefore be described independently of the reproduction system. This means that an object-based recording can be rendered on a 5.1 system, a binaural system, or any other system. In the case of a binaural system, it also gives the opportunity to interact with the audio content, as a headtracker can be used to follow the movements of the listener’s head and change the binaural rendering accordingly. This paper describes how such an object-based recording can be achieved.
Also a poster—see session P19-6]
Convention Paper 9570 (Purchase now)
P16-3 A Further Investigation of Echo Thresholds for the Optimization of Fattening Delays—Michael Uwins, University of Huddersfield - Huddersfield, UK; Dan Livesey, Confetti College, Nottingham Trent University - Nottingham, UK
Since the introduction of stereophonic sound systems, mix engineers have developed and employed numerous artificial methods in order to enhance their productions. A simple yet notable example is the effect commonly known as “fattening,” where a mono signal is cloned, delayed, and then panned to the opposite side of the stereo field. The technique can improve a sound’s prominence in the mix by increasing its overall amplitude while creating a pseudostereo image and is a consequence of a renowned psychoacoustic phenomenon, the “precedence effect.” The aim of this investigation was to build upon previous accepted studies, conducting further experiments in order to produce refined estimates for echo thresholds for elements common to a multi-track music production. This investigation obtained new estimates of echo thresholds and fattening delay times, for a variety of isolated instrumental and vocal recordings, as perceived by a sample population of trained mix engineers. The study concludes that current recommendation for delay times used to create fattening effects should be refined, taking into account not only those features of the but also the consequences of temporal and spectral masking, when applied in the context of a multitrack
Also a poster—see session P19-2]
Convention Paper 9571 (Purchase now)
P16-4 An Investigation into the Sonic Signature of Three Classic Dynamic Range Compressors—Austin Moore, University of Huddersfield - Huddersfield, UK; Rupert Till, University of Huddersfield - Huddersfield, UK; Jonathan Wakefield, University of Huddersfield - Huddersfield, UK
Dynamic range compression (DRC) is a much-used process in music production. Traditionally the process was implemented in order to control the dynamic range of program material to minimize the potential of overloading recording devices. However, over time DRC became a process that was applied more as a creative effect and less as a preventative measure. In a professional recording environment it is not uncommon for engineers to have access to several different types of DRC unit, each with their own purportedly unique sonic signature. This paper investigates the differences between three popular vintage dynamic range compressors by conducting a number of measurements on the devices. The compressors were tested using: THD measurements, tone bursts, and objective analysis of music-based material using spectrum analysis and audio feature extraction.
Convention Paper 9572 (Purchase now)
