• The Journal of the Korea institute of electronic communication sciences
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• v.8 no.6
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• pp.847-854
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• 2013

This paper implements a smartphone application for sound recording and player of mobile learning. Due to its ubiquitous nature, smartphones could be used anytime anywhere, and because they combine an audio and a microphone, the application for sound recording and player that this paper suggests can be easily and cost effectively developed without additional infrastructure. This paper also explains a technique which processes data of music lyrics. The technique is built on a database technology by using SQLite, a DBMS combined in a platform of android. Thus, as long as the smartphone application for sound recording and player is developed and the mobile phone has sound source files, learners could record their own voices to the sound. Therefore, we expect the learners without additional infrastructure to enable mobile learning.

• Proceedings of the KAIS Fall Conference
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• 2009.12a
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• pp.432-435
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• 2009

음악 레코딩 산업에서 5.1 서라운드 사운드 프로덕션은 이미 전 세계적으로 우리 실생활에 널리 사용 되어 왔다. 많은 음악 엔지니어들은 과거보다 더욱 진보된 사운드를 위해 다양한 기술적 시도를 하고있다. 본 논문은 현재 사용되고 있거나 개발 중에 있는 Sony/Philips, Fukada Tree, 그리고 Hamasaki Square 등 여러 종류의 서라운드 마이크로폰 테크닉을 분석하고, 다양한 악기 사용에 따라 달라지는 결과를 분석하여 서라운드 사운드 프러덕션에서 보다 효율적인 접근법을 모색하기 위한 연구이다.

• Proceedings of the KIEE Conference
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• 2008.10b
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• pp.270-271
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• 2008

고품질, 고기능 오디오에 대한 대중적인 수요가 증대되고 있는데, 이는 첫째로 레코딩 기술의 발달, 둘째로 저장매체와 발달과 코딩기술의 발달에 의한 오디오 저장 데이터 량의 증가, 또한 디지털 출력회로에 의해 가능해진 저렴한 고음질 오디오 출력장치에 그 원인이 있다고 할 수 있다. 더구나, 발달된 디지털 신호처리 기술로 각종 필터의 구현, 음장제어, 3차원 사운드 효과 등이 가능해져서 시장에서의 수요를 견인하는 새로운 오디오 장치의 개발이 필요한 상황이다. 이러한 요구에 부응하여 디지털 음원들을 입력받아 임의의 필터링을 실행하고, 출력 유닛의 공간적, 음향적 특성을 상위제어기로부터 입력받아 전 신호경로 상에 디지털 신호처리 하여 출력신호를 생성하는 장치가 요구된다. 이는 단순히 청취만 가능했던 기존의 수동적이고 일방적인 오디오 서비스와 달리 청취자가 자신의 취향에 따라 음악을 들을 수 있는 능동적인 오디오 서비스가 가능해졌다.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.19 no.12
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• pp.569-573
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• 2018

Music is composed of the sound of many instruments. Among them, the sound of the human voice naturally stands out to us and immediately connects with the listener. However, A lot of different steps go into perfectly mixing a vocal, but I'm going to focus on the most important step, equalization. In this paper, starting with the concept and the type of EQ for the requirements associated with the EQ's work and will know about when and how to use subtractive EQ, additive EQ during the recording and mixing process. EQ is one if the most important tools for mixing, especially when dealing with vocals. The control that EQ's offer allows you work, boosting and cutting to fit the vocal perfectly into the mix. The key to get a professional sounding vocal every time is to always keep in mind what you're trying to achieve stylistically and for it, using reference track is very effective. In addition to EQing, there are a variety of complex working steps such as compression, reverb, chorus, delay, adjusted for the effects of the work and harmonies of backing vocals and that are also very important task. The work of EQing is the beginning of the mixing process, among other things, need to be a detailed work throughout the consideration of the above points to its importance is greater relationship.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.22 no.3
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• pp.374-380
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• 2021

Band Wittgenstein is a relatively band-shaped team since Shin Hae-Chul's previous big band "Next." The album, which features Shin Hae-Chul's unique lyrics and specific concepts, is also similar to the Next albums. However, there is a difference in sounds used on the album that are properly fused sampling based work and computer music. This album is a low-budget home recording album produced at a total cost of 3 million won. Shin Hae-Chul was in charge of the main vocals and programming, and all of the works were done together by the band members. In this album, Shin Hae-Chul focused on teamwork rather than producing his own music. The low budget could have been a constraint on music production, but it must be highly appreciated for it being a novel attempt. Musicians who create music always create conflicts between their favorite music and popular ones. However, without creative efforts, there is no evolution or development in the music industry. It is clear that constant changes can continue to develop musical ability, which leads to the development of Korean pop music.

• Proceedings of the Korean Society of Broadcast Engineers Conference
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• 2011.07a
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• pp.57-60
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• 2011

본 논문에서는 초고선명 디지털 TV 를 위한 차세대 멀티채널 사운드 시스템의 최적의 라우드스피커 레이아웃을 도출하기 위해 다양한 라우드스피커 배치 환경에서 인지 관점의 오디오 음질 주관평가를 실시하였다. NHK 22.2 채널 시스템, ITU-R BS.775-2 표준의 7.1 채널 시스템과, 실감 음향에 가장 중요한 역할을 하는 Top Layer 라우드스피커에 중점을 두고 다양한 신규 레이아웃 구성들을 비교하였으며, 스튜디오에서 믹싱된 컨텐츠와 B-format 레코딩을 멀티채널로 생성한 컨텐츠를 이용하여 주관 평가를 실시하였다. 주관 평가 결과, Top Layer 에 3 개의 라우드스피커를 가지는 10.2 채널 라우드스피커 레이아웃이 평가에서 사용된 전체적인 오디오 음질의 등급에서 NHK 22.2 채널 시스템과 차이를 인지하기 어렵다는 결과를 도출하였다.

• The Journal of the Acoustical Society of Korea
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• v.38 no.6
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• pp.637-650
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• 2019

This paper analyzes the limitations of binaural sound that is reproduced with headphones based on Ambisonics for Virtual Reality (VR) audio. VR audio can be provided with binaural sound that compensates head rotation of a listener. Ambisonics is widely used for recording and reproducing ambient sound fields around a listener in VR audio, and the First order Ambisonics (FOA) is still being used for VR audio because of its simplicity. However, the maximum frequencies with this order is too low to perfectly reproduce ear signals, and thus the binaural reproduction has inherent limitations in terms of spectrum and sound localization. This paper investigates these limitations by comparing the signals arrived at ear positions in the reference field and the reproduced field. An incidence wave is defined as a reference field, and reproduced over virtual loudspeakers. Frequency responses, inter-aural level differences, and inter-aural phase differences are compared. The results show, above the maximum cut off frequency in general, that the reproduced levels decrease, and the horizontal localization can be provided only around the forward direction.