Recording in a Virtual Acoustic Environment

Abel JS, Canfield-Dafilou EK. Recording in a Virtual Acoustic Environment. In: AES Convention 143. Audio Engineering Society; 2017. Paper 9854. Available from: https://aes.org/publications/elibrary-page/?id=19251

@inproceedings{Abel2017_19251,
  author = {Abel, Jonathan S. and Canfield-Dafilou, Elliot K.},
  title = {{Recording in a Virtual Acoustic Environment}},
  booktitle = {AES Convention 143},
  note = {Paper 9854},
  year = {2017},
  month = oct,
  publisher = {Audio Engineering Society},
  url = {https://aes.org/publications/elibrary-page/?id=19251}
}

TY  - CPAPER
TI  - Recording in a Virtual Acoustic Environment
AU  - Abel, Jonathan S.
AU  - Canfield-Dafilou, Elliot K.
T2  - AES Convention 143
M1  - Paper 9854
PY  - 2017
DA  - 2017/10/06
UR  - https://aes.org/publications/elibrary-page/?id=19251
PB  - Audio Engineering Society
LA  - en
AB  - A method is presented for high-quality recording of voice and acoustic instruments in loudspeaker-generated virtual acoustics. Auralization systems typically employ close-mic'ing to avoid feedback, while classical recording methods prefer high-quality room microphones to capture the instruments integrated with the space. Popular music production records dry tracks, and applies reverberation after primary edits are complete. Here a hybrid approach is taken, using close mics to produce real-time, loudspeaker-projected virtual acoustics, and room microphones to capture a balanced, natural sound. The known loudspeaker signals are then used to cancel the virtual acoustics from the room microphone tracks, providing a set of relatively dry tracks for use in editing and post-production. Example recordings of Byzantine chant in a virtual Hagia Sophia are described.
ER  -