Usually acoustic measurements are done with impulses, AFAIK. An ideal
impulse actually has all frequencies in it, so it's useful for that kind of
thing. Plus it's easy to differentiate between the initial signal and the
room effects just based on time.
.hc
Impulses are okay, but there are bet
Hallo!
Usually acoustic measurements are done with impulses, AFAIK. An
ideal impulse actually has all frequencies in it, so it's useful for
that kind of thing. Plus it's easy to differentiate between the
initial signal and the room effects just based on time.
Actually I think, engineers
On 2/13/07, Frank Barknecht <[EMAIL PROTECTED]> wrote:
Actually I think, engineers prefer to use frequency sweeps instead of
pulses nowadays
How fast of a sweep are you talking about? Seconds or milliseconds? Is
this the 50 and 80 ms bit that the paper mentions?
If we use a rising
frequen
That's a sweet concept, and a fun way to collaborate with active field
recording. I'll have to try that (giving you guys reference cred of
course)!
~Kyle
On 2/13/07, Derek Holzer <[EMAIL PROTECTED]> wrote:
I've used very rough "impulse" recordings to do binaural placement for
sounds--as well as
An excerpted acoustic study of an abandoned Soviet aircraft bunker. Max
Borisov wears ear-mount binaural microphones, and I test the space with
bricks and stones. Max and I found this technique very interesting, as
it allows one person to literally "become" a human microphone, and the
That
Hallo,
Hans-Christoph Steiner hat gesagt: // Hans-Christoph Steiner wrote:
> Usually acoustic measurements are done with impulses, AFAIK. An
> ideal impulse actually has all frequencies in it, so it's useful for
> that kind of thing. Plus it's easy to differentiate between the
> initial si
I've used very rough "impulse" recordings to do binaural placement for
sounds--as well as pure abstract textures as Malte suggested--with very
nice results. See soundfiles and descriptions below from Karosta Project
(Latvia, 2002-3) http://karosta.edworks.net/
best,
d.
***
binaural.tunnel.st
I practice recording for convolution by simply clapping in the hand on
the particular location. Later on the computer I cut away the inital
sound of the clap to have only the tail of reverbration available.
May be not that accurate in the scientific way but works well for me.
But convolution ca
If I'm correct, an impulse is just a moment where the sample level goes from
one to zero, causing a click? I'm interested in doing this still but the
things I've found are a little bit technical (explanations, but no
practice/application/instruction)... I'll keep looking.
Kevin
On 2/13/07, Han
Usually acoustic measurements are done with impulses, AFAIK. An
ideal impulse actually has all frequencies in it, so it's useful for
that kind of thing. Plus it's easy to differentiate between the
initial signal and the room effects just based on time.
.hc
On Feb 8, 2007, at 3:13 PM, K
Hallo,
Kevin McCoy hat gesagt: // Kevin McCoy wrote:
> Thank you all for your responses - each was very helpful! I am particularly
> interested (mostly out of curiosity) in how to "measure" the room with
> convolution - would I blast some pink noise and then re-record it with a
> good microphone,
Thank you all for your responses - each was very helpful! I am particularly
interested (mostly out of curiosity) in how to "measure" the room with
convolution - would I blast some pink noise and then re-record it with a
good microphone, and then perform a frequency analysis on that? I am sure I
We went to the Kimmel Center last semester in acoustics class, and
this is exactly what they do. They have a huge foil on top that they
raise or lower depending on the size of the ensemble. Now, they also
have huge empty wells on both sides of the auditorium, and if they
need wider reverb they o
If you can (and it's a big if), try to suspend your acoustic dampening
panels above the heads of people. This will have a big effect on your
reverb problems without disrupting the space in the hallway.
I like the suggestions on this thread. very insightful
Chuck
__
Hi Kevin,
one more strategy i found very helpful in the past:
It seems quite logical to try to incorporate the acoustics of that
special room, rather than trying to fight it. A mixture of a dry,
low-volume nearfield with speakers pointing towards the listener and a
reverberant ambience could m
For very quick and dirty cost effective treatment use a couple of big
fiberboard partitions, the 6ft kind you get to separate office cubes.
Put them at 30-50 degrees to each other and place your speakers in the
"focal point".
Also, turn it down. The best defence against reverb is to greatly lowe
Alternatively, you could acoustically treat the space using acoustic
foam or rigid fiberglass. This page has tons of good info:
http://www.ethanwiner.com/acoustics.html
Ben
Alternativly you can use some cloth which might be cheaper or free from
theatrical places. But if time left and concep
Am 07.02.2007 um 20:12 schrieb Kevin McCoy:
Low ends tend to get very muddy and the highs and mids spill all
over the place. Are there certain tricks I could use in mixing or
placement/kinds of speakers to preserve the highs and mids better
in a difficult space? This might be a difficult
I haven't done any sound installations, but in thinking about a
particular space had some ideas for dealing with these acoustical
issues. You could design the sound for the space, working with rather
than against the acoustics. If possible, you could capture the impulse
response of the space
On 2/7/07, Kevin McCoy <[EMAIL PROTECTED]> wrote:
there are many sound scientists and artists on the list so I thought
I would ask if anyone knows of resources to look at for dealing with these
kinds of issues? How are other artists sorting these things out? Any links
or recommendations would b
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