Unlike Postmortem I, I will not be so nice. I mentioned that the pink-grey exegesis of an audio's Fourier Transform is just that, an exegesis. When it comes to sound localization, however, I will be relentless in my opinion; pure mono is sacrilege. Unless you are a sound artist trying to prove a point (or lack thereof), any audio engineer who relinquishes the pursuit of binaural in this day and age should be chastised. If we are to enact a Sound Design Renaissance, we must strive for perpetual innovation. Pure mono is not that.
Relative to Chapter I, Chapter II was laboriously researched. I decided to take a more mathematically rigorous approach to the auditory comparison simply because the axioms responsible for the HRTF are interdisciplinary. Without much of a tangent, the same convolution matrices which operate upon the frequencies and phase shifts of sound are implemented as well in photography, another hobby of mine.
It should be mildly conspicuous by now that, when I can, I employ a computational analysis to my work.
Official Sources:
Introduction to HRTFs
Modeling Head Related Transfer Functions
Approximating the head-related transfer function using simplegeometric models of the head and torso
Seminar Ia - 1. year, 2nd cycle
A Head-Related Transfer Function Model for Real-Time Customized 3-DSound Rendering
Efficient Modeling and Estimation from Small Sets of Spatial Samples
Virtual Auditory Display
Head-related transfer function (wiki)
Sound localization (wiki)
Convolution, Noise and Filters
Filtering and Convolutions
Impulse Response and Convolution
Chapter Four: Synthesis
Decoding Matrix Encoded Surround Sound Through Convolution
Minds
YouTube
Friday, March 17, 2017
Friday, September 2, 2016
Sounds Beauteous I: Postmortem
Equalization is always contextual; pink noise should not be imitated to a T. That being said, 'pink music' within corresponding, conventional paradigms are the best renditions of said (intended) music.
Grey noise is a slightly superior ambition insofar as higher frequencies are concerned; grey noise is recommended to be replicated above 10K Hz (principally above Ear Canal Resonance) whilst frequencies below are to remain pink.
To summarize, a pink-grey exegesis is an exemplary demarcation of equal apparent loudness.
Official Sources:
Wednesday, August 31, 2016
The Original Version of 'Get Got' Was Recorded with a Toaster
Slight Rant: The Money Store's production is horrendous, and it's even worse considering that I am an admirer of Death Grips.
In comparison to Bottomless Pit, the production ain't so bad, but when you contemplate on how fleshed out The Money Store (and practically every sound in existence) could have been, especially when there's proof out there, you begin to question whether or not the end result was a stylistic choice.
My denouement: our neoteric music industry has continued to perpetuate delusions of grandeur and bad fads. Even artists who tread the fringes are susceptible to this abominable pre/post effects processing. Where's my evidence for this you ask? Equal-Loudness Contours, Head-Related Transfer Functions, and the Loudness War (yes, these are easter eggs).
I would like to believe that we are heading toward a "Loudness War Aftermath", i.e. a post-loudness era, but alas, Death Grips and their contemporaries are an attestation to the fact that sound designers have much to achieve.
Check out my YouTube channel! goo.gl/J1tc61
My denouement: our neoteric music industry has continued to perpetuate delusions of grandeur and bad fads. Even artists who tread the fringes are susceptible to this abominable pre/post effects processing. Where's my evidence for this you ask? Equal-Loudness Contours, Head-Related Transfer Functions, and the Loudness War (yes, these are easter eggs).
I would like to believe that we are heading toward a "Loudness War Aftermath", i.e. a post-loudness era, but alas, Death Grips and their contemporaries are an attestation to the fact that sound designers have much to achieve.
Check out my YouTube channel! goo.gl/J1tc61
An Overture in 349.23 Hz
Greetings, fellow Internet Traverser.
I am a Natural Philosopher, someone who employs a multitude of methodologies to study an assortment of fields within the natural sciences.
This is a simple prelude on what's to come, categorically essays with regard to topics such as Acoustics, Psychology, Mathematics, and the occasional Computer Science.
I will be delving deeply into what makes sonic production quality production. I will be scrutinizing the fundamentals of Music Theory. I will be examining the entertainment triggers found in various psychoacoustic signals brought about by sonance in its variegated manifestations. I will be perusing the mathematics behind eventual sound design theorems such as those of Harry Nyquist and Claude Shannon. I will be investigating the Loudness War elementally and holistically. I will be showing you how to make great music.
TL;DR: I am a Psychoacoustician devoted to top-tier sound production.
Let's make music great again.
Check out my YouTube channel! goo.gl/J1tc61
I am a Natural Philosopher, someone who employs a multitude of methodologies to study an assortment of fields within the natural sciences.
This is a simple prelude on what's to come, categorically essays with regard to topics such as Acoustics, Psychology, Mathematics, and the occasional Computer Science.
I will be delving deeply into what makes sonic production quality production. I will be scrutinizing the fundamentals of Music Theory. I will be examining the entertainment triggers found in various psychoacoustic signals brought about by sonance in its variegated manifestations. I will be perusing the mathematics behind eventual sound design theorems such as those of Harry Nyquist and Claude Shannon. I will be investigating the Loudness War elementally and holistically. I will be showing you how to make great music.
TL;DR: I am a Psychoacoustician devoted to top-tier sound production.
Let's make music great again.
Check out my YouTube channel! goo.gl/J1tc61
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