Virtual Acoustics Technology in the Recording Studio-A System Update

Zhang KYY, Baran MV, Aydin A, King R, Woszczyk W. Virtual Acoustics Technology in the Recording Studio-A System Update. In: Express Paper. Audio Engineering Society; 2024. Paper 280. Available from: https://aes.org/publications/elibrary-page/?id=22738

@inproceedings{Zhang2024_22738,
  author = {Zhang, Kathleen Ying-Ying and Baran, Mihai-Vlad and Aydin, Aybar and King, Richard and Woszczyk, Wieslaw},
  title = {{Virtual Acoustics Technology in the Recording Studio-A System Update}},
  note = {Paper 280},
  year = {2024},
  month = sep,
  publisher = {Audio Engineering Society},
  url = {https://aes.org/publications/elibrary-page/?id=22738}
}

TY  - CPAPER
TI  - Virtual Acoustics Technology in the Recording Studio-A System Update
AU  - Zhang, Kathleen Ying-Ying
AU  - Baran, Mihai-Vlad
AU  - Aydin, Aybar
AU  - King, Richard
AU  - Woszczyk, Wieslaw
M1  - Paper 280
PY  - 2024
DA  - 2024/09/27
UR  - https://aes.org/publications/elibrary-page/?id=22738
PB  - Audio Engineering Society
LA  - en
AB  - This paper describes ongoing efforts toward optimizing the Virtual Acoustics Technology (VAT) system installed in the Immersive Media Lab at McGill University. Following the integration of the CAVIAR cancelling auralizer for feedback suppression, this current iteration of the active acoustics system is able to flexibly support the creation of virtual environments via the convolution of Spatial Room Impulse Responses (SRIRs) with real-time microphone signals. While the VAT system has been successfully used for both recordings and live performances, we have nevertheless been looking to improve upon its stability from feedback and natural sound quality, two significant attributes of active acoustics systems [1]. We have implemented new software controls and microphone input methods to increase our ratio of gain before feedback, while additionally repositioning and adding loudspeakers to the system to generate a more even room coverage. Following these additions, we continue to evaluate the space through objective measurements and feedback from musicians and listeners.
ER  -