Convolution, Virtual Acoustics, and Interactions with Impossible Worlds

International Conference on Immersive and 3D Audio (I3DA 2023): Sound and Video Examples.

While we recommend using headphones for all the video examples, please lower the amplitude when listening to the sample impulses!!!

Bits of the Hits

Bits of the Hits from Kerry, Ireland. Mono field recording by Susan Geaney. In this extract, the impulse processing the field recording is replaced at approx 2.44 and then every 3 minutes after.

Some examples of impulses extracted from Dick Dale’s Misirlou, similar to those used for Bits of the Hits. First without smoothing:

And now the same impulses smoothed:

Langscapes

An excerpt from a Kafka short story is first read in Serbo-Croatian,then continues in English, and then we hear the excerpt continuing with each Serbo-Croatian phrase of the text convolved with the corresponding English phrase.

Full versions of the tracks from Langscapes can be found at https://www.kemmersound.com/langscapes

Slow Burn In Perpetuity: Music from the Room of
Eternal Madrigals

5-minute extract first streamed on Diatribe Records (https://diatribe.ie/) on November 12th 2o22. Below are 3 sample impulses taken from a recording of Plange Quasi Virgo performed by Graindelavoix (https://www.youtube.com/watch?v=IfOQICfimJE)

Medieval Bells

A video example of the “on the hour” sequence with the sound of Honan’s Quay Limerick sounding through the medieval bells followed by the bells sounding through the recording of Honan’s Quay. Below is another sequence of construction noise at the corner of Cecil Street and O’Connell Street in Limerick sounding the bells and then the bell sounding the construction noise.

Double Feature – or – The Bard Cheek takes the Night-Shift at the Piano

A short video demonstrating our cancellation and auralization system:

In excerpt 1, fixed media samples and dialogue (from the very dry soundtrack of the Rough For Theatre 1) are played through the CAVIAR speaker/mic virtual acoustic system. The “electronic sounds” heard are caused by turning CAVIAR’s feedback cancellation system on and off. The resulting feedback decays with its characteristic heavily influenced by the acoustic of the auralization. In excerpt 2, the impulses generating the auralization are reversed and pitch-shifted in real-time.

And here is a video demonstrating the effect of adding a delay to the cancellation system:

Make a (Loud-ish) Sound

ICMC 2022 – Make a (Loud-ish) Sound – Example. The auralization changes from an unnamed concert hall in the UK to an auralization generated from room-like impulses extracted from Gesualdo, similar to those above

Words and Music in Many Spaces

Excerpt: Words and Music in Many Spaces. Valerie Lunn-Walsh, Accordion; Tony Monahan, Electric Guitar, Rodrigo Hoerelle, Drums; Elliot Faley, Voice; Breandan Moir, Voice; Eoin Callery Live Auralizations; Sarah Brady, Piano; Michael Brennan, Electric Guitar; Seiko Takahashi, fiddle; Jay Dudding, Classical Guitar.

Our full paper and references can be seen here:

Impossible_worlds_I3DA_ECDownload