Measurement of 3D Phoneme-Specific Radiation Patterns in Speech and Singing - 2007 Scientific Report. Brian FG Katz, C. d’Alessandro Abstract We present the preliminary results of a detailed measurement study on spoken and singing voice directivity under various conditions in two- and three-dimensions. Unlike previous studies that have used average directivity data over spoken phrases, sung phrases, or crescendos, this work presents results that are measured and analyzed in finer detail.
Two talkers and a professional opera singer (counter tenor) participated in the experiments. Details of the measurement protocol and post-treatment processing are presented. Introduction While there have been numerous studies concerned with the directivity of musical instruments, there have been very few studies concerned with the directivity of the human voice.
Motivation of the Work In the present work, we investigate several aspects of radiation patterns of the human voice. Measurement Protocol Figure 1. Results Spoken Voice Individual vowel differences Figure 2. Figure 3. Importance of spectral content. The Challenge of Archiving Sound + Vision in the 21st Century. Where is the wisdom we have lost in knowledge? Where is the knowledge we have lost in information? So wonders T.S. Eliot’s chorus in a pageant play he once helped write in 1934. Never one to let modernity trample gleefully over tradition, Eliot asks us to consider—long before it seemed necessary—what the sea of information we now swim in might be worth without good maps to guide us and wise navigators to chart out the course. We live in a time in which everything can be catalogued, preserved, backed up, and made open and searchable. This is a wonderful thing.
But Will Prentice, Audio Engineer and Conservation Specialist at the British Library’s Sound and Vision Division, points out a special problem with archiving in the digital age. As much as we moderns hate the idea of discrimination in any form, when it comes to media, past and present, it’s often a necessary good. Related Content: How Brewster Kahle and the Internet Archive Will Preserve the Infinite Information on the Web. The Roaring Twenties. The Soundmaker (Trilogy of Failure I), 2004. The 25 Best Free VST / AU Plugins for PC and Mac in 2013 - Part 1. Sound Design Tutorial: Shooting Single System Audio | Below you’ll find the next tutorial from our sound design tutorials on YouTube. This 6 minute tutorial covers the topic of shooting single system using on-camera microphones. In this lesson you’ll learn how to use on camera microphones attached with a standard shoe-mount as well as learn how to attach higher end shotgun mics to your camera using shock mounts.
It’s our hope that after watching this video you’ll better understand both the pros and cons of shooting single system. We hope you enjoy our latest round of online tutorials! Dig in! Sign up below to get instant access to over 1 hour's worth of high quality free filmmaking tutorials that will have an instant impact on the quality of your film and documentary projects. CCG-->Arquivo Sonoro de Galicia. Austrian Academy of Sciences. Archiv-Phonograph Type V The Phonogrammarchiv was founded in 1899 and is the oldest audiovisual archive in the world. The Wiener Archiv-Phonograph was developed in the Phonogrammarchiv, and put to test for the first time in 1901 during field research in Croatia, Brazil, and on the Isle of Lesbos.
The recording procedure of Edison's cylinder phonograph, the vertical cut technique, was applied to a wax disc, providing an average recording duration of between one and two minutes. Phonogramm-discs and metal negative The disc shape of the so-called Phonogramm permitted the easy production of a permanent metal negative - a vital factor for making access copies, thus preserving the original quality of the recordings.
Because of the heavy weight of the first phonograph (ca. 45 kg!) Famous Collections - Memory of the World Numerous early collections, famous by now, were recorded with the Archiv-Phonograph, e.g. Rudolf Pöch: Papua New Guinea 1904-1906, Kalahari 1908 Abraham Z. German Dialects of Austria. Giacometti_filmografia completa. Escoitar.org. Recording FX In 5, 6, 8, Or More Channels? Posted by Shaun Farley on Wednesday, October 9, 2013 · 22 Comments Guest Contriubtion by Randy Thom Acoustic Authenticity Versus Entertainment Value When designing a set for a film, the art director tries to use what is good about the real world place where the scene will be shot, but also tries to avoid being straight jacketed by what is there.
The cinematographer usually has a similar approach in deciding what to shoot and how to shoot it. The director may want to put some local people in a scene, but they probably won’t be leading characters. Sound design should be the same, I think. Achieving the right amount of authenticity in art is always tricky. If Nat Boxer, the production mixer on that film, had made recordings in five or six channels, nearly all of it would probably have been useless. Recording sound effects on location should be mostly about finding good sounds to record, not about what equipment you use to record them. Randy Thom. The Sound of Hitchcock: How the Director Used Sound to Create Atmosphere & Suspense in His Films. Alfred Hitchock is often hailed as one of the great visual artists of the 20th century. His films are admired for their graphic eloquence — for the power they have, through carefully planned sequences of images, to manipulate the emotions of a viewer.
What tends to be overlooked, though, is that Hitchcock applied the same care and foresight in the design of a film’s sound. In these excerpts from Gary Leva’s 2008 documentary The Sound of Hitchcock, some of Hollywood’s top sound designers and filmmakers explain how Hitchcock used sound to create atmosphere and build suspense in classic films like Rear Window, Psycho and The Birds. In the same way Hitchcock made frequent use of the “subjective camera,” or the point-of-view angle, he also explored the use of subjective sound to communicate the psychological state of his characters. When we reach the night sequence, exaggerate passing car noises when headlights show in her eyes. H/t Aleksandar R.
Related content: