Thesis (M.S.)--University of Wisconsin--Madison, 1969. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

An integrated system providing dynamic control of sound source azimuth, distance and proximity to a room boundary within a simulated acoustic space is proposed for use in multichannel music and film sound production. The system has been investigated, implemented, and psychoacoustically tested within the ITU-R BS.775 recommended five-channel (3/2) loudspeaker layout. The work brings together physical and perceptual models of room simulation to allow dynamic placement of virtual sound sources at any location of a simulated space within the horizontal plane. / The control system incorporates a number of modules including simulated room modes, "fuzzy" sources, and tracking early reflections, whose parameters are dynamically changed according to sound source location within the simulated space. The control functions of the basic elements, derived from theories of perception of a source in a real room, have been carefully tuned to provide efficient, effective, and intuitive control of a sound source's perceived location. / Seven formal listening tests were conducted to evaluate the effectiveness of the algorithm design choices. The tests evaluated: (1) loudness calibration of multichannel sound images; (2) the effectiveness of distance control; (3) the resolution of distance control provided by the system; (4) the effectiveness of the proposed system when compared to a commercially available multichannel room simulation system in terms of control of source distance and proximity to a room boundary; (5) the role of tracking early reflection patterns on the perception of sound source distance; (6) the role of tracking early reflection patterns on the perception of lateral phantom images. / The listening tests confirm the effectiveness of the system for control of perceived sound source distance, proximity to room boundaries, and azimuth, through fine, dynamic adjustment of parameters according to source location. All of the parameters are grouped and controlled together to create a perceptually strong impression of source location and movement within a simulated space.

With the recent emergence of new release formats capable of delivering discrete multichannel surround-sound, there is a need to research unique recording methods to take advantage of the enhanced spatiality compared to conventional 2-channel stereophonic systems. This dissertation proposes a new microphone technique that incorporates head-related spatial cues through use of binaural artificial-head microphone signals sent to the surround channels. Combining this with 3 spaced directional microphones for the front channels shows promising results towards reproducing a 3-dimensional sound field. This dissertation describes a complete investigation of the proposed recording technique including an analysis of the basic concept, performance and suggested applications.

Thesis (MS)--Montana State University--Bozeman, 2009. / Typescript. Chairperson, Graduate Committee: Robert C. Maher. Appears on title page as Darrin Kiysohi Reed (sic). Includes bibliographical references (leaves 60-71).

Thesis (M.S. )--Kutztown University of Pennsylvania, 2006. / Source: Masters Abstracts International, Volume: 45-06, page: 2723. Typescript. Abstract precedes thesis as 1 leaf (iii). Includes bibliographical references (leaf 23).

Thesis (M.E. Physics and Electronic Engineering)--University of Waikato, 2006. / Includes bibliographical references (p. 109-112) Also available via the World Wide Web.

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Research regarding liveness and embodiment in electronic music has tended to explore the relationship of bodies and instruments, audience perception, interfaces, and shifting definitions, less theoretical and empirical study has considered network situations, perhaps given their relative cultural novelty. Network music has seen many advances since the time of the Telharmonium, including the invention of the personal computer and the widespread proliferation of internet connectivity. These advances have fostered a unique approach to live electronic music that facilitates collaboration in a field where solo performance is perhaps more common. This thesis explores the design of network music interfaces, and how those interfaces mediate collaborations. Three new network music system interfaces, each using different a different paradigm for interface design are presented in this study. One an instrument for creating modular feedback lattices. Another is a three dimensional virtual pattern sequencer. And the last is a web based collaborative live coding language. Accompanying each system is an evaluation using quantitative and qualitative analysis to frame these instruments in a larger context regarding network music. The results highlight important themes concerning the design of networked interfaces, and the attitudes of musicians regarding networked collaborations.