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DAW filter presets for IKO001015
No full textMCFX Convolver/jconvolver preset (wav files and jconvolver conf files) for decoding 16 Ambisonics channels (3rd order) to 20 loudspeakers for IKO001015, including radial focusing filters and crosstalk cancellation
DAW filter presets for IKO001014
No full textMCFX Convolver/jconvolver preset (wav files and jconvolver conf files) for decoding 16 Ambisonics channels (3rd order) to 20 loudspeakers for IKO001014, including radial focusing filters and crosstalk cancellation
Track 1: all six violins : played by Susanne Scholz in the following order: Rainer, Schiffler, Mehler, Lowenberger, Mende, Montanucci
No full textTrack 1: all six violins played by Susanne Scholz in following order:
Martin Rainer, Vienna 0:00
Hagen Schiffler, Laufen 0:52
André Mehler, Leipzig 1:38
Alessandro Lowenberger, Genoa 2:26
Sebastian Mende, Weimar 3:16
Valentina Montanucci, Piacenza 4:00
Project description:
Six replicas of a violin by Jacobus Stainer: an organological research project at the Institute for Early Music and Performance Practice at the University of Arts Graz (project leader: Susanne Scholz)
Musical instruments constitute one of the most valuable sources for HIP (historically informed performance practice).
As most of the most precious instruments have been constantly adapted to the tastes and needs of their players, copies of the few particularly well-preserved original instruments are an interesting option for the researching musician, but the instruments require the inquisitive minds of specialist luthiers and necessitate investigation and sustained discourse within the research community.
Providing a platform for this discourse was one of the main objectives of this project of the Institute of Early Music and Performance Practice at the University of Music and Performing Arts Graz (KUG).
The criteria that led to the selection of the violin by Jacobus Stainer of 1668, preserved in the National Music Museum, Vermillion, South Dakota, USA, included, on the one hand, a response to a request by the Institute for 17th century instruments, including a 17th century set-up that allows stringing with four pure gut strings. In addition, the instrument to be used as a model was to be made by an eminent violin maker whose career had some connection with the location of the university and whose instruments were to be very popular among the violinists. Jacobus Stainer was indeed an extremely important Austrian violin maker, much in demand in his day but rarely copied today.
One of the challenges was to reconstruct the instrument in its original 17th century set-up. The violin makers involved in the project – Alessandro Lowenberger (Genoa), André Mehler (Leipzig), Sebastian Mende (Weimar), Valentina Montanucci (Piacenza), Martin Rainer (Vienna) and Hagen Schiffler (Laufen) – are six specialists in the reconstruction of historical violin instruments with a focus on research, and they have particular experience with instruments of the 17th century.
The sound samples give the opportunity to listen to and compare the sound of the six instruments.
In order to do account for the fact that the sound of the instrument is decisively influenced by the player, the audio examples were recorded by two different players, Dario Luisi (Fachbereich Alte Musik, J.-J.-Fux Konservatorium Graz) and project leader Susanne Scholz (Institut Alte Musik und Aufführungspraxis, Kunstuniversität Graz). Both play with a comparable technique, a violin posture with the instrument resting on the chest and a bow hold with the thumb placed under the hair of the bow. On 9 February 2024, the two violinists recorded an ornamented cadence of a Sonata for two violins and basso continuo by Antonio Bertali and a cadence of a violin sonata by Giovanni Antonio Pandolfi-Mealli, each using a a bow by Manako Ito, Graz (copy of a bow from the collection of the KHM Vienna).
The first set of audio samples, one and two, presents all six violins played by each of the two violinists.
Track number three is a single audio sample, in which the two violinists play successively six different combinations of the six violins.
The last set of audio samples, from four to nine, consists of the solo recording of one violin played consecutively by the two violinists one after the other.
Played piece:
Giovanni Antonio Pandolfi-Mealli (c. 1630–c. 1669/70), Innsbruck 1660,
Sonate a violino solo per chiesa e da camera, op. 3
Civico Museo Bibliografico Musicale Bologna, BB.74
Sonata terza La Melana, final cadence
Recorded on the 09.02.2024 in the chapel of Schloss Eggenberg, Universalmuseum Joanneum Graz (special thanks to director Paul Schuster and Marietta Schieraus)
Recording engineer and editing: Tommaso Settimi
Production assistant: Christian Prohamme
Covariance in non-coincident tetrahedral arrays
No full textThe four signals of the non-coincident directional capsules, composing an Ambisonics microphone are combined in order to render resulting decoded signals with desired directional and diffuse responses. While the directional responses are derived from first order microphone patterns, the responses to diffuse sound are described using the cross-correlation coefficient, as a function of frequency, between the various microphone signal pairs.
The cross-correlation coefficient between the two signals of a microphone pair, in a diffuse sound field, is an important parameter when using multiple microphones systems, trying to control, attenuate or enhance the diffuse sound. Its properties, for first order and Nth-order differential microphone signals, have been investigated in detail. However when considering multiple non-coincident directional microphones, the resulting cross-correlation coefficient of two decoded signals will not follow the same properties. The corresponding cross-correlation coefficient is quantitively derived and its characteristics are further discussed in terms of application in Ambisonics signal manipulation
Contraforte Multiphonics with fingering chart and audio (140)
No full textContrafort Multiphonics (140): Fingering Chart and Audio Sample
Contraforte Multiphonics (140) with Fingering Chart and Audio
No full textContraforte Multiphonics (140) with Fingering Chart and Audi
Demo video of the letter day project - P
No full textThe videos are described in the paper: Katharina Gross-Vogt. 2024. The letter day project - designing sonic in- teraction for learning letters . In Proceedings of Audio Mostly 2024 - Ex- plorations in Sonic Cultures (AM ’24). ACM, New York, NY, USA, 9 pages. {https://doi.org/https://doi.org/10.1145/3678299.3678352
Demo video of the letter day project - W
No full textThe videos are described in the paper: Katharina Gross-Vogt. 2024. The letter day project - designing sonic in- teraction for learning letters . In Proceedings of Audio Mostly 2024 - Ex- plorations in Sonic Cultures (AM ’24). ACM, New York, NY, USA, 9 pages. {https://doi.org/https://doi.org/10.1145/3678299.3678352
Demo video of the letter day project - Ei
No full textThe videos are described in the paper: Katharina Gross-Vogt. 2024. The letter day project - designing sonic in- teraction for learning letters . In Proceedings of Audio Mostly 2024 - Ex- plorations in Sonic Cultures (AM ’24). ACM, New York, NY, USA, 9 pages. {https://doi.org/https://doi.org/10.1145/3678299.3678352