1. 3-D Sound and Spatial Audio MUS_TECH 348

2. Environmental Acoustics and Computational Simulation

3. Indirect Sound Indirect sound exists in all environments though we may not attend to it consciously.

4. Large-Space Acoustics We are most able to attend to indirect sound in large-spaces like concert halls or cathedrals. Reverberation time is the duration in which the indirect sound decreases to -60 dB of the direct sound.

5. Large-Space Acoustics Typical reverberation times:

6. Large-Space Acoustics Different kinds of music and sound are best presented with different reverberation times.

7. Large-space Acoustics Indirect sound that reflects off of one wall is called a first-order reflection, off two walls a second-order reflection, etc. As the density of reflections increases, the higher-order reflections merge into the continuous sound with at least 1000 reflections/sec we call reverberation or the late field.

8. Reverberation Simulation By 1963 Manfred Schroeder has perfected the first digital reverberator. His purpose was to simulate concert hall acoustics including a multiple delay line to simulate the initial first- and second-order reflections.

9. decay density Schroeder Reverberator Schroeder’s basic building blocks were the delay line (a non- recursive comb filter), the recursive comb filter and the all- pass comb filter.

10. Delay line: Non-recursive Comb Filter a z -m K K Ka t m samples impulse response f f = SR/m amplitude response: (explains the name comb filer)

11. Recursive Comb Filter z -m K b < 1 K Kb t m samples impulse response: Kb 2 Kb 3 Kb 4 f f = SR/m f/2 amplitude response:

12. All-pass Comb Filter z -m b -b b t impulse response b2b2 b3b3 b4b4 f amplitude response is constant: (recursive and non recursive parts cancel each other)

13. Schroeder Reverberator Block diagram of a single channel (monophonic) reverberator Allpass recursive comb (decay) (density)

14. Schroeder Reverberator c c c c AA 29.7 msec 37.1 41.1 43.7 5.01.7 decay density Four recursive comb filters in parallel determine the reverb time Two all-pass filters in series insure that there are 1000 reflections/sec.

15. Early Reflections delay bufferreverb input output t input early reflections reverb a

16. f f f f + + = Summation of recursive comb filters should approximate a flat response

17. Problems f a 1) 2) t periodic Response is not flat Impulse response has periodicities that produce pitch percepts

18. Air and Wall Absorption Air and wall absorption combine to create a reverberation time that is frequency dependent. For concert halls the low-frequency reverberation time is longer:

19. Air and Wall Absorption Air absorption and the absorption of walls, seats and people help to shape the reverberation.

20. Air and Wall Absorption In everyday environments the building materials have a strong impact on reverberation of the acoustic environment.

21. Air and Wall Absorption z -m K b < 1 LP Moorer suggests putting low-pass filter in the feedback loop of the recursive comb filter in order to simulate air and wall absorption. This causes the high frequencies in the reverberation to die out before the low frequencies.

22. Frequency in Hz (linear) Power in dB Air & wall absorption filter Usually the low-pass filter inserted into the recursive comb filter is a first-order filter. Here is a second-order filter that is more accurate. Low-frequency loss (not present in concert halls but present in other kinds of construction)

23. Comparison of simulated and actual rooms simulated real

24. Other methods for creating reverberation David Griesinger Lexicon modulating delays in reverb

25. Lexicon-Style Reverb Predelay lowpass filters All-pass Combs Diffusion Modulated All-pass Delay All-pass low-pass filter

26. Feedback Matrix A Strautner & Puckette 1982 Jot & Chaigne 1991 Waveguide Reverberation Julius Smith