Examinando por Materia "Sonido estereofónico"
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- PublicaciónAcceso abiertoAnálisis comparativo de los efectos auditivos del dithering en procesos de masterización digital estéreo(2014) López León, Rolando; Buitrago Montañez, David ManuelEl tema propuesto gira en torno a las técnicas de postproducción en el ámbito digital y hace especial énfasis en uno de los “subprocesos” finales durante la masterización estéreo, el cual consta de la adición del dither durante el ajuste al formato de audio de CD. Se utilizan 3 canciones las cuales fueron grabadas en bloque en los estudios de la Universidad de San Buenaventura, Medellín en un formato digital de 24bits, 48KHz. A estas tres canciones se les realizó el proceso de postproducción correspondiente y se les aplicó un proceso de masterización estéreo enteramente dentro del ámbito digital. En la etapa final de la masterización se procedió con la degradación hacia el formato de CD de 16 bits y 44.1 KHz. Es en este punto, con el objetivo de evaluar los efectos audibles del dither se obtuvieron dos grupos de muestras, uno conteniendo las muestras a las que se les había aplicado el dither y el otro con muestras sin la previa aplicación del mismo, las cuales luego se sometieron a pruebas comparativas. Las observaciones y conclusiones se espera aporten a la amplia discusión en torno a la perceptibilidad de los efectos audibles del dither.
- PublicaciónAcceso abiertoEvaluación objetiva y subjetiva de parámetros de audio relacionados con la calidad en producciones musicales finalizadas(2017) Obregón Gaviria, Daniel; Sierra Gallón, Juan Sebastián; Moreno Viasús, Ricardo AndrésThe main purpose of the following work is to evaluate in an objective and subjective manner, audio parameters in finalized musical productions, which can be useful to determine their relationship with the perceived audio quality, taking into account audio attributes such as dynamic range, stereo image, and frequency content. To achieve this, algorithms were coded in the software MATLAB, to evaluate the following three specific parameters: IBR (Inter-Band Relationship), cross correlation, and harsh energy. Hearing tests were also designed in order to evaluate the same parameters in a subjective manner, to establish if there is an existing relationship between these parameters and the perception of audio quality.
- PublicaciónAcceso abiertoEvaluación perceptual de una producción musical aplicando grabación binaural(2019) Toro Botero, Juan Jose; Hormiga Leal, Juan PabloThe technological evolution has significantly influenced the way people receive, control and listen the audio content of mobile devices. This 3D audio experience is usually focused on content or material for the film industry and presents a small amount in terms of musical productions. When recording live session or an acoustic format session, stereo recording techniques are most often used. These recordings, using this type of technique, provide a good immersive image and spatialization of musical instruments; an approach to what has been done in cinematographic productions. However, there is a limitation in the sensations of spatiality and perception generated, which are corrected using binaural recording techniques. In this work we evaluated the sensations of spatiality and realism of a musical production of an acoustic format developed with binaural recording in comparison with the traditional stereo recording techniques and the evaluation method for the subjective comparison of both methods was determined, for obtain and analyze the advantages and disadvantages of binaural audio compared to traditional stereo audio in the development (recording, mixing, reproduction) of a musical production. The test was conducted with a group of 10 participants who had knowledge in sound and was composed of two stages, in the first stage, the participant listened to different recordings of the same song, in this case the version of the song was an acoustic format which the recordings were made with different stereo / binaural techniques, all the recordings were made from the same point, to obtain the same perspective of the musicians. The participants listened to the acoustic recording with different stereo recording techniques. In the second stage of the test, participants listened the same song, but recorded and produced in different ways, in this case the song was recorded in a traditional way in studio, recording each instrument separately and using a metronome for both stereo techniques binaural and traditional. Two tracks were obtained which were Overdub production and recording using exclusively the binaural recording head and traditional Overdub recording and production, using different mono or stereo capture techniques. Keywords: Binaural audio, Binaural recording, Stereo recordings, Music production