Reverberation modelling for music production and sonic art applications : The development and creative use of a novel computer-based system for the analysis, manipulation and resynthesis of acoustic signatures (impulse responses) of rooms and other resonant objects.
- Submitting institution
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University of York
: A - A - Music
- Unit of assessment
- 33 - Music, Drama, Dance, Performing Arts, Film and Screen Studies : A - A - Music
- Output identifier
- 67308057
- Type
- T - Other
- DOI
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- Location
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- Brief description of type
- https://www.jezwells.org/; https://www.youtube.com/; https://nugenaudio.com/paragon/; https://touchradio.org.uk/; http://www.vespertineyork.com/; https://www.naxos.com/
- Open access status
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- Month
- October
- Year
- 2020
- URL
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- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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0
- Research group(s)
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- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- The Interactive Reverberation Modelling System (IRMS) combines the ‘photo realism’ of sampled acoustic impulse responses (AIRs) with the extensive parametric control offered by algorithmic reverberators. To date no reverberation system has combined AIRs with such extensive and plausible control of parameters.
It was originally developed for an audio-visual installation work presented at the National Centre for Early Music, commissioned by Vespertine (2016). The audio component of this work, solely devised and produced by the author of this output, used AIR measurements taken at different positions within the church, processed by the IRMS (amongst other techniques developed by the author) and distributed over 17 loudspeakers. This work was also exhibited at the York Festival of Ideas (2017) and at the AES International Conference on Immersive and Interactive Audio (2019). A binaural capture of this was published by Touch Radio (2020).
The system models AIRs as sets of atoms which are decaying sinusoids, each with their own frequency, amplitude, phase, and decay rate. For high accuracy synthesis (often perceptually indistinguishable from the original sound) a novel combination of spectral modelling and matching pursuits, devised by the author, is used. The system offers control over reverberation time, room size and density, parameters that are typically confined to algorithmic reverbs or are offered in a much cruder form. Reverberation times can be increased to 20 times their original length, without acoustically implausible artefacts.
A demonstrator is available which implements the modelling and interaction of stereo AIRs. A commercial plugin version, Paragon, was released by Nugen (2020). The system was used on a CD recorded by the author, released on Naxos (2018): it subtly enhances the quality of reverberation throughout, but more overtly in Peter Reynolds’ _Cippyn_, co-produced by the author, where it completely transforms the space in which the music is situated.
- Author contribution statement
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- Non-English
- No
- English abstract
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