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A BALLOON FOR LINZ - Impulse responses
Using the popping balloons as Gunshot impulses, I cropped and performed noise removal on the sounds from the differing scenes to remove background noise and unwanted frequencies. I then sorted and exported them into 6 different different folders, 1 for each space.
To remove some of the noise I found that automating Waves’ Z-Noise plugin allowed for the best resulting noise removal with the lowest loss of detail.
After exporting and organising all the sounds and creating screengrabs of the video for the effect thumbnails I imported the impulses into Altiverb to create the reverbs. The result was 6 differing spaces hard to discern from the original reverberations. I now how the ability to recreate the spaces In Tidoni’s video, with the added ability to change the size and length of the reverb.
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Photo
visual illustration of 6 channel composition consisting of water droplets
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Video
vimeo
Davide Tidoni - A Balloon for Linz
"A Balloon for Linz" brings to light the acoustic response of specific locations in Linz. Together with the video, a series of exploratory walks were organized in the city of Linz. Participants were invited to pop balloons and listen to the acoustic architecture of the urban space.
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Dr Natasha barrett
The works of Dr Natasha Barrett and her research into acoustics and spatio-musical composition was of great interest of me throughout my research.
from her 2003 paper - Spatio-musical composition strategies
Spatial elements in acousmatic music are inherent to the art form, in composition and in the projection of the music to the listener. But is it possible for spatial elements to be as important carriers of musical structure as the other aspects of sound? For a parameter to serve the requirements of musical development, it is necessary for that parameter to cover a range of perceptually different states. For ‘space’ to be more than a setting within which the main active elements in the structure unfold, it needs to satisfy these requirements. This paper explains a number of important spatial composition strategies available to the acousmatic composer in light of current technology and sound reproduction situations. The analysis takes an aesthetical rather than a technical standpoint.
abstract from a 2016 interview:
“Acoustics, psychoacoustics and physical properties of sound are essential. In my acousmatic composition, these concepts are primary throughout (here discussing ‘acousmatic’ in the broader sense of the term, as a way of listening and composing without being guided by visual sensations, rather than the strictly Schaefferian conception that is often a point of philosophical debate). Yet even when I’m composing a work for live acoustic instruments or including visual media, I acknowledge that most of the time I begin from an acousmatic perspective as a way to explore the musical concept or expression. Once I have a grasp of this, then of course I need to address the reality of performance, human intervention and any multi-sensory interaction on the part of the listener. Still, acoustics and psychoacoustics remain important.”
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Video
youtube
Schroeder’s Reverberators
The subject of artificial reverberation was initiated in the early 1960s by Manfred Schroeder and Ben Logan [420,421,415]. Early Schroeder reverberators consisted of the following elements [415]:
A series connection of several allpass filters
A parallel bank of feedback comb filters
A mixing matrix
“Schroeder Reverbs.” Generally speaking, these refer to 4 or more parallel comb filters (delay lines with feedback) of unequal length, with the outputs summed and run through two or more allpass delays.
However, the “Schroeder” reverb as it is commonly known is only one of several reverberator algorithms that were disclosed by Manfred Schroeder in his early papers. In his seminal 1962 AES Paper, “Natural Sounding Artificial Reverberation,”. The above video is an implementation of Schroeder’s Reverberators in Max/MSP. Manfred Schroeder was a German physicist and a member of the Bell labs technical staff, his 1962 paper describes methods for generating electronic artificial reverberation. The reverb described can ‘be given any desired characteristics to match the different types of music and personal tastes’. It also describes a method for creating ambiophonic reverberation. This pioneering work into psycho-acousitcs describes a method for feeding several different reverberated signals to a number of loudspeakers distributed around the listener.
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sketch of possible installation idea consisting of motorised revolving speaker rig
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Great visual metaphor for how i wish to depict multichannel composition
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Link
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Link
An article which i used to truly understand and acquaint myself with a process I was already using in my work but with little understanding. I didn't understand how separately Eq’ing the mid and side channels could alter the stereo image. This article highlighted the history, the powers and the shortcomings of stereo shuffling i utilise it regularly in the process of creation. Using FAB filter is the easiest way I can think of which allows for stereo shuffling inside of a DAW
another informative article detailing more shuffling methodology and theory
https://www.soundonsound.com/techniques/processing-stereo-audio-files
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Been reacquainting myself with earlier research i did into extending the stereo image. The work of Alan Blumlien was a huge influence on my subject matter for my major project. The work in sound system technology by Alex Rosner and Richard long, alongside soundsystem culture of Jamaica and consequently the UK largely kickstarted my project during the summer months. With Notting hill carnival being a reminder of the visceral physicality of sound experienced via soundsystems.
https://www.audiosignal.co.uk/Resources/Stereo_shuffling_A4.pdf
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Recording some larger impulse responses today to add to the collection of impulse responses for the final compositions.
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