ACIM/SCM Research Colloquium
Tuesday 31 January 12:30-14:00
Future Cinema, Level 6, CMC, or Zoom https://cityu.zoom.us/j/91424121878 (request password here)
Introduction
Richard Allen, PhD, Chair Professor, Dean
Reverb 101
PerMagnus Lindborg, PhD, Co-Director of ACIM SoundLab
Sound is a medium through which we perceive and understand physical space and the objects they contain through embodied experiences over time. In this brief introduction for non-specialists, I will explain the basics of 1) acoustic reflection, absorbtion, standing waves, filtering, and echo; 2) synthetic reverberation and the difference between convolution and parametric reverbs; and 3) demonstrate the use of software such as spat5~. [10 minutes]
Deep Neural Network with Music Dereverbertion for Technical Ear Training in Music Production Education
Manni Chen, PhD candidate
Reverberation is an audio effect that is frequently used in music production, and it affects the spectrum of the audio, timbre of the music, sense of space etc. Adding reverberation refers to tuning a series of parameters such as pre-delay, room size, reverb time etc. In this case, critical listening on how reverberation works on music samples is important since sound engineers are required to perceive subtle changes in audio to reach the target musical texture that they design in music production. As ear training is necessary in traditional music education, technical ear training, which is a type of perceptual learning focused on timbral, dynamics, and spatial attributes of sound, is also integral in music production education, in the condition of working with audio signals. However, the music dry recordings are not universally available for music production students to practice critical listening in terms of reverberation since it is unnormal for the music production industry to release wet versions and dry recordings simultaneously. In this paper, we propose a deep learning-based music dereverberation method to generate dereverbed music samples in order to expand the listening materials for technical ear training in music production education. The experiment results show that the proposed method can effectively realize dereverberation compared to other neural network-based methods according to various objective evaluation metrics. [30 minutes]
Towards Sustainable Sonic Arts Practices: Less Glitz, More Grit
PerMagnus Lindborg, PhD, Co-Director of ACIM SoundLab
In the context of the climate crisis, what makes for a sustainable practice for contemporary sound artists? It is clear that musicians, producers, composers, and sound designers can no longer blindly pursue the creation of beauty – emotional melodies, exciting rhythms, lush timbres – simply to lure listeners on a leisurely, alas temporary, escape into Scharaffenland. Art is more than entertainment. This paper argues that it is incumbent upon sound artists to dedicate their skill, time, and efforts towards the greater good of climate change mitigation. While many sound artists, including me, are closely connected to academic institutions that provide material resources and ample time for reflection, we must recognise that positions of privilege come with great responsibility. In fact, we cannot be content with raising awareness but must strive to stimulate action. In this talk, I will review initiatives towards sustainable practices amongst pop musicians, working in industry, and sound artists, working in niche or academic contexts. From there, I discuss four matters of concern for sound artists working in academia. Firstly, a rethinking of the aesthetics, purposes, sonic materials, and methods that composers and sound artists use, if their output is to generate meaning-filled experiences that reach beyond the serotonin rush of instant gratification and instead influence listeners to reflect and react to the crisis. Secondly, finding ways to calculate CO2 footprint for the production, presentation, and distribution of sonic artwork, while carefully weighing reasonable costs against potential (if not measurable) impact on audiences, in terms of positive behavioural change. Thirdly, stimulating students and other stakeholders by reviewing curricula and teaching practices in educational institutions. Fourthly, strengthening the network of initiatives geared towards sustainable practices among professionals in the field of sound art. [20 minutes]
Questions & Answers
Moderated by Richard Allen, PhD, Chair Professor, Dean