Fifty Years of Artificial Reverberation

Välimäki, Vesa; Parker, Julian; Savioja, Lauri; Smith, Julius O.; Abel, Jonathan S.

doi:10.1109/tasl.2012.2189567

Cited by 177 publications

(147 citation statements)

References 131 publications

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“…The initial time gap separating the direct sound and the first reflection is thought to affect perception of the presence or intimacy of the room and its apparent size [23]. As time progresses, the sound field becomes a mix of diffuse and specular reflections of decaying level and increasing temporal density and spatial diffuseness, displaying behavior more statistically random in nature [10]. The diffuse reflections and the reverberant decay affect predominantly spatial attributes such as perceived envelopment and spaciousness [23] and provide cues to source distance (predominantly via the DRR [24]) and room size.…”

Section: Room Model and Perceptionmentioning

confidence: 99%

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Object-Based Reverberation for Spatial Audio

Coleman¹,

Franck²,

Jackson³

et al. 2017

J. Audio Eng. Soc.

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Object-based audio is gaining momentum as a means for future audio content to be more immersive, interactive, and accessible. Recent standardization developments make recommendations for object formats; however, the capture, production, and reproduction of reverberation is an open issue. In this paper parametric approaches for capturing, representing, editing, and rendering reverberation over a 3D spatial audio system are reviewed. A framework is proposed for a Reverberant Spatial Audio Object (RSAO), which synthesizes reverberation inside an audio object renderer. An implementation example of an object scheme utilizing the RSAO framework is provided, and supported with listening test results, showing that: the approach correctly retains the sense of room size compared to a convolved reference; editing RSAO parameters can alter the perceived room size and source distance; and, format-agnostic rendering can be exploited to alter listener envelopment.

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Section: Room Model and Perceptionmentioning

confidence: 99%

“…Digital synthesis of reverberation is a topic that has attracted much research over many decades [10][11][12]. In particular, part of the MPEG-4 standard [13,14] describes parametric reverberation techniques based on highlevel descriptions of the desired room.…”

Section: Introductionmentioning

confidence: 99%

Object-Based Reverberation for Spatial Audio

Coleman¹,

Franck²,

Jackson³

et al. 2017

J. Audio Eng. Soc.

View full text Add to dashboard Cite

show abstract

“…In the context of this study, however, the RIR is not readily defined, due to conditions (1) and (2) above. As such, the transformation between the mix without reverb and the mix with reverb is not a linear one, and it cannot be defined by an impulse response, even if the reverberator used is applying a linear transformation (which is also not always the case [35]). However, an Equivalent Impulse Response (EIR) can be estimated in which temporal and spectral aspects of the total reverb are embedded:…”

Section: Problem Formulationmentioning

confidence: 99%

“…Further features and parameters to consider include predelay [29], echo density [35], autocorrelation [32], and more sophisticated loudness features [2].…”

Section: Future Workmentioning

confidence: 99%

Perceptual Evaluation and Analysis of Reverberation in Multitrack Music Production

Man¹,

McNally²,

Reiss³

2017

J. Audio Eng. Soc.

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Artificial reverberation is an important music production tool with a strong but poorly understood perceptual impact. A literature review of the relevant works concerned with the perception of musical reverberation is provided, and the use of artificial reverberation in multisource mixes is studied. The perceived amount of total artificial reverberation in a mixture is predicted using relative reverb loudness and early decay time, as extracted from the newly proposed Equivalent Impulse Response. Results indicate that both features have a significant impact on the perception of a mix and that they are closely related to the upper and lower bounds of desired amount of reverberation in a mixture.

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“…By this, a more realistic auralization is achieved with higher localization accuracy, less front-back conversions and an improved externalization of virtual sound sources 1 . The synthesis of reverberation has been in focus of research since years 2,3,4,5 . Furthermore, parametric models for the synthesis of BRIRs with artifical reverberation have been also investigated over decades and are still relevant 6,7,8 .…”

Section: Introductionmentioning

confidence: 99%