Perceptual Evaluation and Analysis of Reverberation in Multitrack Music Production

Man, Brecht De; McNally, Kirk; Reiss, Joshua D.

doi:10.17743/jaes.2016.0062

Cited by 17 publications

(13 citation statements)

References 18 publications

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“…Reverb is mainly artificial reverb in popular music [28]. It enhances envelopment by providing space and depth information.…”

Section: Introductionmentioning

confidence: 99%

“…In addition, filtering (applying EQ) can spectrally unmask content (e.g., separates vocals from other instruments). Shaping the sound with an EQ can impact listener preference, since bass balance [26] and brightness [27] can influence the perceived sound quality.Reverb is mainly artificial reverb in popular music [28]. It enhances envelopment by providing space and depth information.…”

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confidence: 99%

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Listener Preference for Wave Field Synthesis, Stereophony, and Different Mixes in Popular Music

Wierstorf¹,

Hold²,

Raake³

2018

J. Audio Eng. Soc.

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Stereophony and wave field synthesis are capable of providing the listener with a rich spatial audio experience. They both come with different advantages and challenges. A direct comparison in terms of listener preference has rarely been carried out in previous research, since these methods differ in their production stage. This study generated mixes of four different popular music recordings and introduced systematic changes to the wave field synthesis mix for one song. Listeners rated their preference comparing the different mixes and reproduction systems. Part of the experiment was repeated using a binaural simulation of the involved loudspeaker setups. The results show that a presentation using a high number of loudspeakers is preferred and the differences between reproduction methods can have a larger influence than strong variations of single mixing parameter. INTRODUCTIONThe most common loudspeaker reproduction methods in the consumer market are 2-or 2.1-channel stereophony (stereo) and 5.1-channel stereophony (surround / 5.1) [1]. Several multichannel methods that provide a higher number of surrounding loudspeakers are available as well [2]. More loudspeakers can lead to a higher emotional reaction and encourage deep immersion of listeners during reproduction [3]. The question arises if integrating more loudspeakers will also enhance the overall listening experience for listeners. In a study comparing stereo, surround, Ambisonics, 9-channel, and 22-channel stereophony Francombe et al. [4] showed that listeners preferred systems with more than five channels for different types of broadcast content.The present study assesses if the same preference for systems with a higher number of loudspeakers is present for wave field synthesis (WFS) [5,6] when compared to stereo and surround in the context of popular music. There is evidence against this as WFS is known to introduce stronger coloration on single sound sources than stereophony [7].Mixes of popular music for WFS are produced in a slightly different workflow than for stereo and surround. When listeners are asked which reproduction system they prefer for a given song the actual mix might influence their choice as well. The goal of the study is to quantify the influence of the mixing process on listener preference.The involved reproduction systems can be simulated via headphones, employing binaural re-synthesis to mimic the involved loudspeaker setups [8]. This is especially of interest for investigating loudspeaker-based methods that rely on a large number of loudspeakers, which might be hard to realize in a listening test [9]. The study employs binaural simulations of the loudspeaker reproduction systems and compares listener preferences obtained with those simulations and the actual loudspeaker setups.We assess those three questions in paired comparison listening tests asking listeners to rate their preference. Experiment I investigates the influence of the reproduction system and four different mixing parameter on listeners' preference ratings for one ...

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“…Reverb is mainly artificial reverb in popular music [28]. It enhances envelopment by providing space and depth information.…”

Section: Introductionmentioning

confidence: 99%

mentioning

confidence: 99%

Listener Preference for Wave Field Synthesis, Stereophony, and Different Mixes in Popular Music

Wierstorf¹,

Hold²,

Raake³

2018

J. Audio Eng. Soc.

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“…The third type is represented by test beds, i.e., platforms to facilitate diverse research through providing collections of datasets with meta-level annotations. The Open Multitrack Testbed 14 [29], for example, can be used to search multitrack recordings with a specific set of instrumentation or stems, and provides a browsing and searching interface with metadata filters related to specific devices used in music production.…”

Section: A Ios Definitionsmentioning

confidence: 99%

The Internet of Sounds: Convergent Trends, Insights, and Future Directions

Turchet

Lagrange

Rottondi

et al. 2023

IEEE Internet Things J.

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Current sound-based practices and systems developed in both academia and industry point to convergent research trends that bring together the field of Sound and Music Computing with that of the Internet of Things. This paper proposes a vision for the emerging field of the Internet of Sounds (IoS), which stems from such disciplines. The IoS relates to the network of Sound Things, i.e., devices capable of sensing, acquiring, processing, actuating, and exchanging data serving the purpose of communicating sound-related information. In the IoS paradigm, which merges under a unique umbrella the emerging fields of the Internet of Musical Things and the Internet of Audio Things, heterogeneous devices dedicated to musical and nonmusical tasks can interact and cooperate with one another and with other things connected to the Internet to facilitate soundbased services and applications that are globally available to the users. We survey the state of the art in this space, discuss the technological and non-technological challenges ahead of us and propose a comprehensive research agenda for the field.

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“…Thus, simply by listening, even such experienced audio engineers cannot easily judge what the applied reverb is and its detailed settings [3].…”

Section: *Equal Contributionmentioning

confidence: 99%

Reverb Conversion Of Mixed Vocal Tracks Using An End-To-End Convolutional Deep Neural Network

Junghyun¹,

Paik²,

Lee³

2021

ICASSP 2021 - 2021 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP)

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Reverb plays a critical role in music production, where it provides listeners with spatial realization, timbre, and texture of the music. Yet, it is challenging to reproduce the musical reverb of a reference music track even by skilled engineers. In response, we propose an end-to-end system capable of switching the musical reverb factor of two different mixed vocal tracks. This method enables us to apply the reverb of the reference track to the source track to which the effect is desired. Further, our model can perform de-reverberation when the reference track is used as a dry vocal source. The proposed model is trained in combination with an adversarial objective, which makes it possible to handle high-resolution audio samples. The perceptual evaluation confirmed that the proposed model can convert the reverb factor with the preferred rate of 64.8%. To the best of our knowledge, this is the first attempt to apply deep neural networks to converting music reverb of vocal tracks.

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Perceptual Evaluation and Analysis of Reverberation in Multitrack Music Production

Cited by 17 publications

References 18 publications

Listener Preference for Wave Field Synthesis, Stereophony, and Different Mixes in Popular Music

Listener Preference for Wave Field Synthesis, Stereophony, and Different Mixes in Popular Music

The Internet of Sounds: Convergent Trends, Insights, and Future Directions

Reverb Conversion Of Mixed Vocal Tracks Using An End-To-End Convolutional Deep Neural Network

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