Second week into Reverberation and space (In class study)
There are Acoustics terms：
Absorption: The process by which sound energy is dissipated or transformed into other forms of energy, typically heat, when it strikes a surface or material.
Reverb/Reverberation: The persistence of sound reflections in an enclosed space after the original sound has stopped, creating a sense of spatial depth and ambiance.
Room Modes: Resonant frequencies that occur in enclosed spaces due to the interference patterns created by sound waves reflecting off surfaces.
Critical Distance: The distance from a sound source where the direct sound and reverberant sound fields are equal in level.
Diffusion: The scattering or dispersal of sound waves in multiple directions, preventing flutter echoes and creating a more natural-sounding reverberant field.
Impulse Response: The recorded or simulated acoustic response of a space or system to a brief impulse or excitation signal, capturing its unique acoustic characteristics.
Anechoic Chamber: A highly absorbent and non-reflective environment designed to eliminate or minimize reflections and echoes, used for acoustic measurements and testing.
Masking: The phenomenon where one sound interferes with or obscures the perception of another sound, often due to frequency or temporal overlap.
Standing Waves: Stationary wave patterns that occur in enclosed spaces due to the interference of reflected sound waves, resulting in regions of amplification and cancellation.
Acoustic Impedance: A measure of the resistance to sound wave propagation in a medium, influenced by factors like density and stiffness.
Resonance: The amplification of sound waves at specific frequencies due to the natural vibration characteristics of an object or enclosed space.
Diffraction: The bending or spreading of sound waves around obstacles or through openings, affecting the propagation and spatial distribution of sound.
Comparing these recordings
Adapting the spatial characteristics of spaces e.g., with drapes, hard objects and reflective panels
Experimentation and comparison of hardware reverberation (e.g., spring, plate, treated spaces, hardware digital reverbs)
Software reverberation, (e.g., Convolution reverb and impulse responses)
Exploration of different approaches to scoring multi-channel works, such as X, Y and Z axes
Exercises:
Students explore mixing an existing stereo or mono track for multichannel playback
Students create draft scores for multi-channel work Booking M108 on the ORB for mixing multi-channel work
Independent Study: Continue developing your score for both linear timeline and spatialisation Upload your score to your blog together with a description of your concept and themes
A linear timeline refers to a traditional, sequential approach to structuring and experiencing sound over time
Idea development During this second period l researched deeper into the sue of recordings and software reverberation, l consider it is very logical towards my first idea of creating a introduction for an album due to the fact that it is experimental piece that can include many elements, l can use this piece to explore and exhibit my techniques, whereas installation of dance sound could be combined such as engaging with the audience, but shouldn’t be too complicated and scientific due to our time limitation, I should research deeper into the sound itself than mechanical building. However, there are still many details for me to focus on especially in the area of envisage in the gallery. If it is only a simple music piece it might not be interesting enough, l need to think of an idea that could exhibit my piece with speciality.