Artificiell efterklang används i ljudinspelning och produktion för att placeraljud spatialt. En algoritm som simulerar efterklang med hjälp av ett filternätverk togs fram.Fokus vid resultat lades på objektiv analys och framför allt spektrogram ochvattenfallsdiagram. Den slutgiltiga modellen gav mätvärden lika målsättningen. Viktigaslutsatser drogs om justering av parametrar och filtermodeller.

Poetic truths exist within unknowable interspaces beyond human perception. Through the reciprocal engagement of phenomenological inquiry and thorough material explorations, I aim to access these spaces as sites of greater understanding. Magnifying the fissures between the material and sensual qualities in material constructs, my practice activates specific instruments within mutable, relational systems of installation, movement, and documentation. The tools I make function within variable orientations and are implemented as both physical barriers and thresholds into alternate, virtual domains. Intersecting fragments of sound and moving image build a nexus of superimposed spatialities, while material constructions are enveloped in ephemeral intensities. Within this compounded environment, the embodied perspective of the viewer is charged as an active site through which durational, contemplative experiences can pass. Reverberation, the ghostly refrain of a sound calling back to our ears from a distant plane, can intensify our emotional experience of place. My thesis project Planar Refrains utilizes four electro-mechanical reverb plates, analog audio filters designed to simulate expansive acoustic arenas. Historically these devices have provided emotive voicings to popular studio recordings, dislocating the performer from the commercial studio and into a simulated reverberant territory of mythic proportions. The material resonance of steel is used to filter a recorded signal, shaping the sound of a human performance into something more transformative, a sound embodying otherworldly dynamics. In subverting the designed utility of reverb plates, I am exploring their value as active surfaces extending across different spatial realities. The background of ephemeral sonic residue is collapsed into the foreground, a filter becomes sculpture, a sculpture becomes an instrument in an evolving soundscape.

My practice explores phenomenal poetic truths that exist in fissures between the sensual and physical qualities of material constructs. Magnifying this confounding interspace, my work activates specific instruments within mutable, relational systems of installation, movement, and documentation. The tools I fabricate function within variable orientations and are implemented as both physical barriers and thresholds into alternate, virtual domains. Intersecting fragments of sound and moving image build a nexus of superimposed spatialities, while material constructions are enveloped in ephemeral intensities. Within this compounded environment, both mind and body are charged as active sites through which durational, contemplative experiences can pass. Reverberation, the ghostly refrain of a sound calling back to our ears from a distant plane, can intensify our emotional experience of place. My project Planar Refrains utilizes four electro-mechanical reverb plates, analog audio filters designed to simulate expansive acoustic arenas. Historically these devices have provided emotive voicings to popular studio recordings, dislocating the performer from the commercial studio and into a simulated reverberant territory of mythic proportions. The material resonance of steel is used to filter a recorded signal, shaping the sound of a human performance into something more transformative, a sound embodying otherworldly dynamics. In subverting the designed utility of reverb plates, I am exploring their value as active surfaces extending across different spatial realities. The background of ephemeral sonic residue is collapsed into the foreground, a filter becomes sculpture, and this sculpture becomes an instrument in an evolving soundscape.

Denna rapport undersöker om olika gestaltningar av rumsklang ger högre gradperceptuellt realism med en visuell referens. Undersökningen baseras på denforskning inom rumsklang och perception av dessa som skett tidigare. I dessa fall utanen visuell referens. I detta fall undersöks gestaltningen som ges av konvolutionsreverb,fördröjningsnätsreverb och en kombination av dessa. För att undersöka detta skapadestre videoklipp med samma bild och samma ljudeffekter med skillnad i denreverbteknik som användes. Undersökningen skedde med semi-struktureradekvalitativa intervjuer som bestod av fyra frågor om informantens upplevelse. Detutfördes nio intervjuer med lika många informanter. Där varje informant endast fick sepå ett av videoklippen. Resultatet av intervjuerna visade att ingen gestaltning gavhögre grad perceptuell realism utan att så länge gestaltningen i sig låter bra spelar detmindre roll vilken teknik man använder. I en förlängning hade det varit intressant attutföra samma undersökning i en interaktiv kontext.

In games, reverb is used to convey the audial space of game environments. This thesis explores the possibilities of using spring and plate reverb, and if they enhance or detract from the experience compared to a realistic natural reverb. Under evaluation, a quantitative study with a secondary qualitative discussion was carried out where participants played a gameplay prototype that switched between using spring reverb, plate reverb and a realistic natural reverb. A survey was answered relating to the gameplay sequence, which was used to evaluate how players perceived the differences in the different reverbs. The conclusion shows that although spring and plate reverb have different associations and are perceived in a different way compared to a natural realistic reverb, a majority still preferred a natural reverb and felt that spring plate were overall more distracting to the game experience.

Syftet med undersökningen har varit att bidra med ny kunskap om vilka reverbparametrar i insticksprogram som har den största påverkan på den uppfattade rumsliga storleken i en virtuell miljö, samt hur musikalisk bakgrund påverkar denna uppfattning. Detta besvarades genom att genomföra ett lyssningstest med 30 lyssnare, där de fick bedöma den upplevda storleken av varje ljud på en skala. Resultatet visade att decay och dry/wet parametrarna hade den största inverkan på den rumsliga storleken. Undersökningen har bidragit med ny kunskap om vad som påverkar ljudets uppfattade virtuella storlek. Dessutom belyser undersökningen avsaknader i nutida insticksprogram för reverb och dess bristande flexibilitet i parametrarna.

Detta examensarbete går ut på att jämföra två verktyg som ljuddesigners kan använda sig av för att placera ljud i önskade akustiska miljöer. Verktygen i fråga är båda två metoder för att applicera reverb på ljudfiler. Angreppsvinkel för jämförandet är främst frekvensanalys, men utöver rent tekniska detaljer finns även en rad andra inspelningsproblematiska detaljer att ta i beaktning. / The purpose of this degree work is to compare two sound design tools, which both are used to virtually place a sound in an acoustic environment. The tools in question are both methods to add reverb on sound files. The angle of the comparison is mainly frequency analysis. Above technicality, practical details are taken into consideration.

When recording music for surround audio engineers sometimes face limitations in time, ideal microphone positions or a noisy audience. If this cannot be dealt with at the location, artificial reverbs are often used in the mixing to “fill in the blanks”. In this study, three instruments were recorded separately with two 5.1 surround microphone setups. Two audio engineer students created artificial reverbs that replaced the back channels of each microphone setup. A listening test was conducted where test subjects compared the 5.1 real recording to the two other stimuli with artificial back channels in terms of realism, envelopment and preference. The result showed that the real recording and the artificial back channels were interchangeable, but that the artificial back channels pointed towards more envelopment, and that the real recording pointed towards more realism.

Detta examensarbete går ut på att undersöka huruvida filmtittares upplevelser påverkas av inadekvat efterklangspålägg inom eftersynkronisering av dialog till film. Hur efterklangspålägget passar till filmen anses bestämmas mycket utav hur bildens perspektiv och miljön runt omkring illustreras. En lyssningsundersökning utfördes med två olika videoexempel som undersökningsdeltagarna fick se och sedan svara på frågor relaterade till dessa. Målet var att få in motiveringar till svaren för att få en grundligare bild av deltagarnas upplevelse av efterklangen. Detta lyckades och dessa kommentarer gav underlag för diskussion. Av resultaten att döma upplevde deltagarna att efterklangen inte stämde vidare överens med bildens perspektiv och miljö. Detta hade mycket att göra med att efterklangen var aningen för torr i sin karaktär för att kännas naturlig.

This work is about reverberators as system for simulating space properties of sound and their implementation in game development software Unity. The goal of this thesis is to create a working plug-in module for this development software, which is capable of working in real time and also can change it's parameteres in real time.