Virtual Acoustics at the Service of Music Performance and Recording

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Authors

  • Wieslaw WOSZCZYK CIRMMT, Schulich School of Music, McGill University, Montreal, QC
  • Doyuen KO McGill University, Graduate Program in Sound Recording, Montreal, QC
  • Brett LEONARD McGill University, Graduate Program in Sound Recording, Montreal, QC

Abstract

Virtual or active acoustics refers to the generation of a simulated room response by means of elec- troacoustics and digital signal processing. An artificial room response may include sound reflections and reverberation as well as other acoustic features mimicking the actual room. They will cause the listener to have an impression of being immersed in virtual acoustics of another simulated room that coexists with the actual physical room. Using low-latency broadband multi-channel convolution and carefully measured room data, optimized transducers for rendering of sound fields, and an intuitive touch control user in- terface, it is possible to achieve a very high perceived quality of active acoustics, with a straightforward adjustability. The electroacoustically coupled room resulting from such optimization does not merely produce an equivalent of a back-door reverberation chamber, but rather a fully functional complete room superimposed on the physical room, yet with highly selectable and adjustable acoustic response. The utility of such active system for music recording and performance is discussed and supported with examples.

Keywords:

virtual acoustics, active acoustic architecture, room acoustics, room impulse response, low- latency convolution, performer-room interaction, music recording, acoustic enhancement, active acoustics