{"title":"现场音乐录音后期制作中听众对混响的偏好","authors":"KI Liston","doi":"10.25144/14151","DOIUrl":null,"url":null,"abstract":"The focus of this study will be on the use of reverberation in post-production for a live music recording. Reverberation will be captured of the venue the live music was recorded in, using Stereo, AmbisonicBinaural, and Binaural Dummy Head IRs (Impulse Response) of the venue and convolved with appropriate elements of the live music mix. Listeners will be asked to provide their preference of reverberation applied to various examples of the material.","PeriodicalId":186129,"journal":{"name":"Reproduced Sound 2022","volume":"21 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2022-11-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"LISTENER PREFERENCE OF REVERBERATION IN THE POST-PRODUCTION OF LIVE MUSIC RECORDINGS\",\"authors\":\"KI Liston\",\"doi\":\"10.25144/14151\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"The focus of this study will be on the use of reverberation in post-production for a live music recording. Reverberation will be captured of the venue the live music was recorded in, using Stereo, AmbisonicBinaural, and Binaural Dummy Head IRs (Impulse Response) of the venue and convolved with appropriate elements of the live music mix. Listeners will be asked to provide their preference of reverberation applied to various examples of the material.\",\"PeriodicalId\":186129,\"journal\":{\"name\":\"Reproduced Sound 2022\",\"volume\":\"21 1\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2022-11-14\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Reproduced Sound 2022\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.25144/14151\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Reproduced Sound 2022","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.25144/14151","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
LISTENER PREFERENCE OF REVERBERATION IN THE POST-PRODUCTION OF LIVE MUSIC RECORDINGS
The focus of this study will be on the use of reverberation in post-production for a live music recording. Reverberation will be captured of the venue the live music was recorded in, using Stereo, AmbisonicBinaural, and Binaural Dummy Head IRs (Impulse Response) of the venue and convolved with appropriate elements of the live music mix. Listeners will be asked to provide their preference of reverberation applied to various examples of the material.
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