• Journal of the Korea Society of Computer and Information
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• v.22 no.7
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• pp.83-91
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• 2017

In this paper, we propose a thorough solution for adjusting virtual sound field with different kinds of devices and software in preliminary procedure and late stage of music processing. The basic process of music production includes composing, arranging and recording at pre-production stage as well as sound mixing and mastering at post-production stage. At the initial stage of music creation, it should be checked whether the design of virtual sound field, the choice of the tone and the instrument used in the arrangement match the virtual sound field required for the final work. In later recording, mixing and mastering, elaborate adjustments should be done to the virtual sound field. This study also analyzed how to apply the parameter of the effectors to the design and adjustment of the virtual sound field, making it the source of our creation.

• Proceedings of the Korean Society for Noise and Vibration Engineering Conference
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• 2007.11a
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• pp.975-978
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• 2007

This paper investigates stage acoustics in concert halls for ensemble performance in terms of stage support parameters. A concert hall with large stage area was selected. Objective measurements were carried out according to Gade's methods for investigating stage support (ST1). The sound field on the stage was evaluated using stage and audience acoustical parameters. According to the positions at stage, different acoustical characteristics were found. Higher ST1 and lower $IACC_{E3}$ were measured near side and rear stage walls. In case of conductor/soloist vs. orchestra player, objective measurement of acoustical parameters shows that early sound fields depend on the source-receiver distance but late sound fields depend on the location of side and rear walls. In addition, in-situ evaluation of the trio instrumentalists was carried out. Results show that ensemble is favored by higher early reflection of sounds and sound diffusion affecting ‘blending’ of their performance.

• Transactions of the Korean Society for Noise and Vibration Engineering
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• v.22 no.5
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• pp.429-436
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• 2012

In concert halls and auditoriums, acoustic reflector and stage enclosure is one of the main factors on the room and stage acoustic characteristics. As a stage enclosure and acoustic reflector honey comb based light-weight reflector is widely used, because it is easy to install. However, there was not enough research on the surface density effect on room and stage acoustics. In this study, sound absorption coefficient tests on three kinds of wooden acoustic reflectors with different surface density were conducted. Surface density of acoustic reflector was changed from 11 kg/$m^2$ to 41 kg/$m^2$. For the low frequency excitation, sub-woofer was used with omnidirectional loud-speaker simultaneously. From the experiments, it was found that sound absorption coefficient below 250 Hz band was decrease by the increment of surface density. In order to check the influence of the surface density on room and stage acoustic parameters, room acoustic simulation was conducted with sound absorption coefficients, which were tested in reverberation chamber. By the increment of surface density of acoustic reflector, RT(reverberation time) and EDT(early decay time) were increased. Also, ST(stage support) was improved in low frequency bands.

• Proceedings of the Korean Society for Noise and Vibration Engineering Conference
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• 2003.11a
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• pp.742-742
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• 2003

This study is about the effect of the sound pressure level of reverberation on stage acoustics. There are several electro-acoustics systems to enhance the room acoustics of concert hails but not many studies on the stage acoustics for the musicians who plays on the stages. To investigate the effect of reverberation on stage acoustics, the reverberation time of a test room has been controlled through a 4 channel speaker system, and the preferred reverberation level has been selected by performing musicians. As a result, the sound pressure level of reverberation seems to affect the perception of stage acoustics which motivates musicians' performances.

• Proceedings of the Korean Institute of Electrical and Electronic Material Engineers Conference
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• 2003.05b
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• pp.96-102
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• 2003

Today, stage technology is developing highly by application of digital computer. Performance is composed of audio/video and acoustic technology takes very important position in field of stage technology. Generally speaking, four factors of sound are loudness, pitch, sound timbre and duration. Loudness depends on sound pressure level, yet partly related with spectrum and dulation. Pitch depends mainly on frequence and have a relation with sound pressure and duration. sound timbre depends strongly on spectrum and have a relation with frequence. In this paper, I designed a multi-microphone system which can used in broadcasting and performance stage with vicboss 200MHz-VHF wireless microphone and vicboss 900MHz-VHF wireless microphone. I also studied about multi-microphone which can use conveniently in the super play that needs many microphones. If this multi-microphone is prodused, we could expect better sound quality and a big progress in stereo recording technology.

• The Journal of the Acoustical Society of Korea
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• v.33 no.1
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• pp.60-67
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• 2014

The purpose of this study is to suggest a new concept of the absolute sound level system in order to basically solve all the irrational aspects from the mastering stage to the output stage during the process of producing a sound source. Through this absolute sound level system, all the input absolute sound levels of sound sources become standardized based on 60 dB(S), and then sound source producers can implement a sound level they intend by using the differential sound level tag. Besides, by matching the output absolute sound level with the input absolute sound level, a target sound level can be implemented as a listener intends. With this system introduced, sound source producers are able to focus on the completion of a sound source itself without an unnecessary competition for sound levels, and only by inputting the differential reduction tag, they can implement a sound level balance as intended. At the same time, listeners are able to appreciate all kinds of sound sources fit for the standard of absolute s ound levels they want to listen to, without a process of trial and error, no matter what kinds of listening environments and sound systems they have.

• Journal of the Korean Society of Costume
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• v.54 no.5
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• pp.1-12
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• 2004

This Study has examined characteristics of the popular culture of the contemporary fashion show by each element as follows The fashion show place expanded its area when It moved its center because of not only the use of ordinary and public friendly place but also adjacent places post-modernism thought. The installation stage was produced by organic combination with the stage using object: The technology for the stage has produced dynamic variability and variety enough to expand the stage. The dramatic element of production technique was introduced to the fashion show to shorten gap with ordinary life and transfer a theme by facial expressions, gesture and pose. etc of a model In addition. its performance element combines other genre freely to be one time and viewers' participating type technique. At the minimalism element, clothing functions moderately as main factor of the fashion show: Technical elements are added to emphasize future Images. At sound tracks and sound effects, the show's overall atmosphere has been revived to remake various genre of music and improve images. At the fashion model, objective appearance boundary is collapsed to expand model concept and make tools of their own. The fashion show has external values of active movement of associated industry as well as economic boost enough to produce jobs, and internal values to provide aesthetic rest and satisfactions to let the ones. who are isolated from recreation values and the society, establish friendly relations with the society

• Transactions of the Korean Society for Noise and Vibration Engineering
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• v.27 no.2
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• pp.129-138
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• 2017

The subjective experiments on professional musicians using the four channel real-time convolution system were conducted to investigate the effect of reverberant sound pressure level ($L_{rev}$) for stage acoustics. The strength of $L_{rev}$ was changed to 2 dB steps to investigate the optimal strength for ease of performance and the subjective questionnaire survey was conducted to investigate the effect of subjective factor by $L_{rev}$. From the experimental results, a specific strength of $L_{rev}$ is related to ease of music performance. Loudness and directivity are highly correlated.

• Proceedings of the Korea Information Processing Society Conference
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• 2012.04a
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• pp.961-963
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• 2012

The sound source localization system is used to some area such as robotic system, object localization system, guarding system and medicine. So time delay estimation and angle estimation of sound direction are studied until now. These days time delay estimation is described in LabVIEW which is used to create innovative computer-based product and deploy measurement and control systems. In this paper, the development of signal monitoring platform is presented for sound source localization. This platform is designed in virtual instrument program and implemented in two stages. In first stage, data acquisition system is proposed and designed to analyze time delay estimation using cross correlation. In second stage, data obtaining system which is applied and designed to monitor analog signal processing is proposed.

• Journal of KSNVE
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• v.9 no.5
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• pp.991-997
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• 1999

It is getting higher the demand on a good sound in a car. Like some other sensory qualities, achieving a good sound is still treated as a black-box followed by the individual taste of tuning engineers. This study aims to define the attributes of a good car audio sound and the assessment factors affecting the sound quality. With a variety of surveys on professional listening groups and car audio installers, 26 most frequently used vocabularies are selected as typical presentations of car audio sound quality. After repetitions of listening tests with deliberately selected test CD, pre-recorded 15 different digital car-recordings, headphones replay system, and three different listening groups, it is proved that there are at least 5 different assessment factors which significantly affect the car audio sound quality. They are high fidelity, spectral balance, tonal accuracy, sound stage and acoustic fault.