The Virtual Singing Studio: A tool for exploring musical performance and interaction through real-time room acoustic simulations
Date: 9 Mar 2017
Jude Brereton, Audio Lab, Department of Electronics, University of York
AES South of England are pleased to announce our March meeting, held jointly with the Institute of Acoustics Southern Branch in TS414, Spark Building, Southampton Solent University on Thursday 9th March 2017.
The physical characteristics of a music performance venue influence the experience of music for the listener and performing musician alike. Indeed, the acoustic characteristics of the venue will influence not only the perception of music for the listener, but also many of the attributes of the performance itself, since a musician will alter their performance in response to the acoustic feedback they receive from the concert hall. To facilitate the investigation of the influence of acoustic environments on singing performance, a Virtual Singing Studio (VSS) has been developed which offers an interactive room acoustic simulation in real-time, using established auralisation techniques, which allow a singer to perform in an ordinary room and hear him/herself as if singing in a real performance venue.
This talk will introduce the design and implementation of the VSS and report on results which demonstrated that professional singers rated the room acoustic simulation as highly plausible, and judged it to be authentic in comparison to singing at the real performance venue. It will also outline comparisons of singing performance analysis comparing tempo, vibrato and intonation characteristics of singing in the real and virtual performance spaces. After the talk, audience members will also be able to try out the Virtual Singing Studio for themselves!
Dr Jude Brereton is a Lecturer (T&S) in Audio and Music Technology, Deparment of Electronics, University of York, and has worked in the department since 2003, when she took her first role as a Research Associate. She is currently Programme Leader for the MSc in Audio and Music Technology and teaches in the areas of virtual acoustics and auralization, music performance analysis and voice analysis and synthesis on postgraduate and undergraduate programmes.
Her research centres on the use of virtual reality technology to provide interactive acoustic environments for music performance and analysis, in particular investigating the effect of different room acoustic conditions on how singers perform, using an interactive real-time room acoustics simulation specially developed for singing performance (The Virtual Singing Studio).
The meeting will start from 6:15pm for tea/coffee with a 6:45pm lecture start, and will finish around 8:30pm (including the practical demos).
Both AES/IoA members and non-members are welcome to attend.
We are walking distance from Southampton Central rail station, and parking should be available on site.
For any queries or further information, please contact Chris Barlow: email@example.com
Date: 14 Mar 2017
Tutorial by John Vanderkooy (coauthor of the Linear Audio magazine article is Richard Mann)
NOTE: Refreshments will be served at 18:30 for 19:00 event start.
John Vanderkooy has presented many AES papers over the years on a range of topics, many with his colleague Stanley Lipshitz, both founding members of the Audio Research Group at the University of Waterloo, Ontario, Canada. His early PhD work was in low temperature physics, but since the mid 1970’s he has worked with Stan in audio and acoustics. They are well-known for dither, which shows that digital audio truly has analogue character. John is a Life Fellow of the AES. Since retirement, John and his wife Judy have spent winters in the UK at the Steyning Research Centre of Bowers and Wilkins, and he has occasionally presented to the London AES. He continues both the supervision of graduate students and his audio research at the University of Waterloo. Some recent work includes the non-linear acoustics of the trumpet and trombone, the measurement of infrasound inside cars and from wind turbines, and the acoustics of deploying airbags in cars.
This tutorial describes the design, software and use of a general-purpose electroacoustic measurement system. It is based on commercially available, inexpensive, standard soundcards. The presentation is meant to be useful to AES members of all backgrounds. The aim is to place a powerful analysis system in the hands of anyone, encourage high-level electroacoustic measurements and promote their understanding. The idea is that the measurements are performed in a development environment which promotes use of the data in ways that are not possible in commercial software or other freeware offerings. Some general theory of measurement systems is presented, and both inverse filter and frequency domain ratio approaches are discussed. Strengths and weaknesses of different excitation signals are discussed, such as MLS, logsweeps, noise, or even music. Examples will be demonstrated live, measuring quasi-anechoic and complete transfer functions, reverberation time, harmonic distortion, and room acoustic parameters. The software uses the high-level mathematical language of Matlab and Octave, the latter being an open-source, free version that provides full functionality. The software will be natural to anyone with a mathematical bent of mind.
A complete illustrated description and software code will be published in the magazine, Linear Audio, in April 2017. A website dedicated to user interaction and further developments will be online soon. AES attendees will be presented with a shortened preview version to help them get started. A Sound Card Setup program allows simple operation, qualification of the soundcard, signal limits, noise floors, and other interesting features.
If a system requires response to frequencies far above (or far below) audio, then the system can be readily configured using a data front end such as a Handyscope, or a DC-coupled DAQ card.
Date: 18 Mar 2017
Once again, the AES UK section is hosting the student conference UP Your Output! This annual event, which has run since 2011, offers students and recent graduates the opportunity to learn, network, and develop both friendships and career opportunities. The event runs Saturday 18th and Sunday 19th March, 2017 at Southampton Solent University, UK.
The conference is exclusively available to student members of the Audio Engineering Society, currently registered on a programme of study, or recent graduates who have graduated in the past 2 years. It is particularly aimed at undergraduate students, though postgraduate students are very welcome to attend.
Places are limited and so Registration is required. Registration for the event will open on Friday 20th January 2013 via the Up your Output! Eventbrite page (link to follow).
Registration is free for eligible students, and Tickets are issued on the basis of ‘First come, first served’. You will need your AES membership number to register.
If you are not already a student member of AES, the student membership rate of $50 USD gets you access not only to this conference, but to a host of other career opportunities, member benefits – even free plugins!
You can register as a member of the AES at: http://www.aes.org/membership/
In order to promote careers in Audio Engineering, there are a limited number of free places available to students on Further Education courses (e.g. BTEC, A level or IBac). FE students do not need to be a member of AES to attend the event.
Date: 24 Apr 2017
Location: UHI Perth
The Audio Engineering Society Scottish Group and JAMES are pleased to present an evening on ‘Acoustics in Creative Spaces’ held in the Goodlyburn Building at UHI Perth. It will feature the following 4 talks:
The Story of Abbey Road Studio 1 (Melvyn Toms, long-time Abbey Road Tech)
86 years of evolution from early recordings employing questionable acoustics to a five month construction project delivering a state of the art film scoring facility employing Dolby Atmos.
A Study of Archaeoacoustics (Nick Green, Sector Manager: Audio Engineering and Theatre Arts University of the Highlands and Islands)
Particularly IR recording and archiving in heritage and archaeological sites including Rosslyn Chapel and Wemyss Caves a significant Pictish site.
Building a new recording or Performance Space? (Acoustic Designers, ‘Studio People’)
Whether you are planning a project studio in your spare room or building a multi-media suite in a university, it is vital to employ your resources where they will have greatest impact. Listen to how the experts tackle new ventures and ask them about your plans.
Convolution reverb (Dennis Weinreich, engineer, producer, studio owner…)
What is it, how and when not to use it.
Registration for this event is open to all (AES Members and Non Members).
Flyer available here.