• Journal of the Korea Computer Graphics Society
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• v.30 no.3
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• pp.23-41
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• 2024

Recently, various virtual avatar music content that showcases singing and dancing have been produced, and as virtual artists gain popularity, offline virtual avatar concerts have also emerged. However, there are few examples of virtual avatar band content where avatars play instruments. In addition, offline virtual avatar concerts using large screens at the front are limited in their ability to utilize the fantastical effects and high degree of freedom unique to virtual reality. In this paper, inspired by these limitations of virtual avatar music content, we introduce the production case of virtual avatar band content and immersive interactive concert of virtual band idol Verse'day. Firstly, we present a case study on creating band performance animations and music videos using motion capture systems and real-time engines. Then, we introduce a production case of an immersive interactive concert using projection mapping technology and a light stick that allows real-time interaction in an offline concert. Finally, based on these production cases, we discussed the future research directions of developing virtual avatar music content creation. We expect that our production cases will inspire the creation of diverse virtual avatar music content and the development of immersive interactive offline virtual avatar concerts in the future.

• Proceedings of the Acoustical Society of Korea Conference
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• autumn
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• pp.145-148
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• 2000

• Proceedings of the Korean Society for Noise and Vibration Engineering Conference
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• 2007.11a
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• pp.987-990
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• 2007

The accuracy of sound strength (G) measurement method in ISO 3382 has been questioned. One of the main reason is the difficulty in measuring a reference sound level in an anechoic chamber with the same set-up which was applied for the actual hall measurements. In the present paper, an in-situ measurement method for G was proposed by investigating the present G measurement method shown in ISO 3382. In addition, the sound radiation characteristics of typical omnidirectional loudspeakers were investigated and Phi (O) of auto correlation function (ACF) parameters was also calculated from an actual music excerpt to characterize the sound energy distribution in concert halls.

• Proceedings of the Korean Society for Noise and Vibration Engineering Conference
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• 2008.04a
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• pp.25-28
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• 2008

This study investigates the effect of geometrical shape of concert halls, with variation in the shape and location of diffusers. The acoustical characteristics both in the audience area and on the stage 1:50 scale models of shoebox and fan-shaped halls. It was found that the front side walls affect sound diffusion. The 1:50 scale model based on the Boston Symphony Hall was used for monaural impulse response measurements for calculation of RT, EDT, C80, G and ST1. In addition, calculating the numbers and amplitudes of reflection rays were applied to quantify diffusion phenomena.

• Proceedings of the Korean Society for Noise and Vibration Engineering Conference
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• 2010.10a
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• pp.183-184
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• 2010

• Proceedings of the Korean Society for Noise and Vibration Engineering Conference
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• 2010.10a
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• pp.181-182
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• 2010

• Journal of the Korean Institute of Educational Facilities
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• v.26 no.4
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• pp.29-33
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• 2019

• Journal of Korea Multimedia Society
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• v.13 no.7
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• pp.960-972
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• 2010

In this paper, we present a software for placing instruments on stage based on the acoustic properties of the concert hall. In order to simulate the changes in sound depending on the positions of the instruments, we incorporated the idea of location-based reverberation effect which can be realized through the convolution of instrument sounds with the impulse responses from the respective instrument positions. And we developed a software with a real-time convolution engine which enables the user to conveniently simulate the resulting sound of various instrument placements. The software was tested with the impulse response data measured at two concert halls of the National Center for Korean Traditional Performing Arts and Korean traditional instrument sounds. Results of these experiments show that simulated reverberation effects properly represent the spatial placement of instruments on stage.

• Journal of Korea Game Society
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• v.22 no.1
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• pp.43-54
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• 2022

COVID-19 provided visitors with new online concerts that gradually increased in many ways. The disadvantage of current online concerts is that cannot make full use of the interaction with others. We hope to provide online concert audiences with the same experience as offline. This study was conducted under the condition that the audience watched online concerts and movies individually or group. Experimental results confirm that watching online concerts collectively will increase the sense of immersion. It can be used as a design guide for the virtual public viewing environment in the future.

• Journal of the Speleological Society of Korea
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• no.95
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• pp.35-49
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• 2009

Ever since the beginning of time, caves not only have offered a place to live for humans but they have also been used as cultural spaces. That is, in the event of making some sounds in a location within the cave, the sound that is created is greatly magnified and sounds out as if it is being amplified from a giant megaphone. This, as we well know it, is known as the resonance effect. Here, the cave itself appears to function as a massive wind instrument. Especially in cases like the Altamira Cave (Spain) where cave paintings were found, the point where the cave drawings were found has commonalities in that it is a wide space and that it is usually discovered together with flutes and drums that are made with mammoth bones. We need to focus on this point. We can infer from these facts that the prehistoric people have carried out cultural activities along with their incantation rituals within those caves. In the meantime, amongst the Korean traditional arts, in the case of pansori which is a representative vocal genre, there have been examples where caves were used as practicing locations for those people who are training to perfect their singing. This is known as toguldoggong(土窟獨功) which literally means 'obtaining one's own art by oneself in the earth cave by practicing incessantly'. This process along with pokpodoggong (瀑布獨功) (same as above except that the location is by the waterfall) is the final training stage in order to become a recognized virtuoso on the part of the apprentice. This could be compared to the final annealing and finishing process of producing a metalwork. This has been a long tradition followed by most Korean traditional artists in order to perfect their sound which is harmonious with nature within natural surroundings. By honing in on this point, I have come to think about this matter repeatedly while coaching the university students in vocal singing. In short, I came to the conclusion that "the making of natural sounds will be obtained naturally within natural surroundings like caves!" Consequently, The Society for Studying Cave Sounds was inaugurated on January 1992 along with some of my students. We made use of times like vacations to go around exploring caves all over Jeju and carried out investigations of sounds along with cave exploration on an experimental basis. After 5 years, in September of 1997, we were able to host the first ever cave concert domestically at the Whale Nostril Cave(東岸鯨窟) on Wu-do. After that, we have been hosting the cave concert once every year. We have achieved a record of a total of 14 cave concerts until 2009 of this year. Out of these, 2 were held in Seokhwaeam Cave in Kangwon Province, another two were held in Manjang Cave which is a lava cave, and the remaining 10 were held in the Whale Nostril Cave of Wu-do. Along with that, I have carried out a special recording for the production of a cave music CD in May of 1999. This paper was written and organized by using the main materials that were derived from the experiences of using caves as concert halls in the past. It is hoped that this cave concert will offer a very unique experience to tourists who come to Jeju every year and give them the best possible superior natural sound effect that only Jeju caves can offer.