Immersive recordings in virtual acoustics: differences and similarities between a concert hall and its virtual counterpart

Grazioli G, Gozzi A, Rahimdokht M, Braga A, King R, Woszczyk W. Immersive recordings in virtual acoustics: differences and similarities between a concert hall and its virtual counterpart. In: Express Paper. Audio Engineering Society; 2025. Paper 342. Available from: https://aes.org/publications/elibrary-page/?id=22893

@inproceedings{Grazioli2025_22893,
  author = {Grazioli, Gianluca and Gozzi, Andrea and Rahimdokht, Mehdi and Braga, Alessandro and King, Richard and Woszczyk, Wieslaw},
  title = {{Immersive recordings in virtual acoustics: differences and similarities between a concert hall and its virtual counterpart}},
  note = {Paper 342},
  year = {2025},
  month = may,
  publisher = {Audio Engineering Society},
  url = {https://aes.org/publications/elibrary-page/?id=22893}
}

TY  - CPAPER
TI  - Immersive recordings in virtual acoustics: differences and similarities between a concert hall and its virtual counterpart
AU  - Grazioli, Gianluca
AU  - Gozzi, Andrea
AU  - Rahimdokht, Mehdi
AU  - Braga, Alessandro
AU  - King, Richard
AU  - Woszczyk, Wieslaw
M1  - Paper 342
PY  - 2025
DA  - 2025/05/12
UR  - https://aes.org/publications/elibrary-page/?id=22893
PB  - Audio Engineering Society
LA  - en
AB  - Virtual acoustic systems can artificially alter a recording studio's reverberation in real time using spatial room impulse responses captured in different spaces. By recreating another space's acoustic perception, these systems influence various aspects of a musician's performance. Traditional methods involve recording a dry performance and adding reverb in post-production, which may not align with the musician's artistic intent. In contrast, virtual acoustic systems allow simultaneous recording of both artificial reverb and the musician's interaction using standard recording techniquesjust as it would occur in the actual space. This study analyzes immersive recordings of nearly identical musical performances captured in both real concert hall and McGill University's Immersive Media Lab (Imlab), which features a new dedicated virtual acoustics software, and highlights the similarities and differences between the performances recorded in the real space and its virtual counterpart.
ER  -