This is a plan to invite people who are active in various fields related to sound and talk about various themes about "sound" by our chief scientist.
The first time, we talked to Dr. Kazuhiko Kawahara of the Kyushu University Graduate School of Arts and Engineering, which FINAL is currently conducting joint research. I wrote the text as it was, so I think there is something difficult to read, but I think that you can feel the words of the speaker from the text.
I will share the story that I heard for about 4 hours into the main items. Part 4 is a research theme.
Kyushu University Graduate School of Arts and Engineering Dr. Kazuhiko Kawahara
・ Research theme
・ Research theme
Hamasaki: Thank you. This is the prelude to this point, and here is the main subject. Now, is Kawahara -sensei called Kawahara Laboratory?
Kawahara: I'm saying it once.
Hamasaki: When I was in college, I didn't named my teacher's name, but I was talking about the second course. Then, please introduce the research of the riverbank lab.
Kawahara: Then it's a research theme. I wrote the theme of graduation recruitment and the theme that I am doing with graduate students now. Since I was from a signal processing lab, I used a research based on signal processing to use the application of acoustic equipment and the applied technology for acoustic equipment. The signal processing and speakers performed in speakers, graduation profits and master's thesis are still going on, or I haven't got tired of it yet. There is a panel speaker called the distribution mode speaker that I was involved in, but I've been doing this for about 2000 years since I have been evaluating it or finding a use. Later, the second one is doing this with graduate students, but as an evaluation of the sound field, there is a lot of research on ease of hearing, but there is a study of clearness. There is almost no research for the speaker to speak or talk. There are only old -fashioned papers and papers in the 1960s, so there is no evaluation of the sound field at the end of being very easy to talk to, and it is not possible to do so. It's also a joint research. According to the indicators of easy -to -speak, clarity, it is a 響 響 room -like space, and if it is quiet and only directly sound, the clarity is very high, but the 響 響 room is easy to speak, or among them. Whether it is easy to talk or not is that, that's not the case. I think it is necessary to have a moderate reflective sound and moderate diffusion reverberation, so I think that is true, but I am talking about how to find it. 。 Oita, I have learned that this would be possible to find out.
Hamasaki: It's easy to talk about that when I speak, it's easy for me to speak and talk, and there's someone other than me and talk about that person's voice. Doesn't it need to be? Conversation does not hold without the subject.
Kawahara: It's starting a bit to combine with a conversation, but I have to cut it once somewhere. I started the ease of conversation, and in fact. If you don't ask what the other person is saying, you will be a two -person group and you will not be able to convers. But then, the problems are too complicated and it's hard to find out, so it's easy to talk to conversation. So it's like a feeling that your voice is supported. If it is a stage sound, there is an expression like stage support. I'm studying my performance, such as the strength that I can hear myself, and the appropriate amount of reverberation. Similarly, in the case of ordinary conversations, we are investigating that it is just a good initial reflex sound and just a good reverberation. This is because I'm interested in a place like a public space, and even if I talk at a restaurant, it's easy to speak and the sound of other people, the voice of other customers. I think that it is a separation or that kind of value of the space. For the time being, the fact that others are talking is a bit aside, and I'm trying to cut out a little bit of a space in a certain space. This seems easy and relatively difficult.
Hamasaki: Is it easy to talk? It is difficult to answer even if you are asked. However, the people who are talking about speaking in the business are in a place like an announcement booth in a relatively small space, and the desk is placed in front of me, and the microphone is in front of me. Sometimes I have you talk. I often hear from the announcer that this booth is easy to vocalize and that this booth is a bit hard to hear because of his own sound.
Kawahara: There is a professional speaker, where you can talk comfortably. I want to know that kind of thing. If you are good, you have to do it, for example, the ease of speaking, the ease of speaking, and the ease of hearing like an elementary and junior high school classroom. It is related to this and speaker use technology, but I talk to some people, and in elementary schools and junior high schools, there are children who are not good at studying, but I am not good at studying, and in fact I can hear the teacher's voice itself. Isn't that the possibility of that? Say something like that. I always have it, I think there is a possibility. I want the teacher to do classes comfortably and comfortably, and the side who listens to it wants to listen well. For that reason, I started with a place where the conversation was ease, but it was too much to go to the conversation, so I did a place like the ease of speaking as an evaluation in the sound field. I wonder if I can see it. This is likely and has not been researched much.
Hamasaki: That's right. The ease of playing the instrument on the stage I talked about, the ease of the ensemble of the instrument, the reflective sound, or how the sound of my own sound is reflected and returned. You did it. But the fact that it is easy to talk is that the clarity is generally done, but the meaning is different. I think it is interesting.
Kawahara: I feel like I can extract some relevant parameters, and I'm not at the stage I can announce so much, but I'm interested in this. And the third. This was also applause and clapping for the remote live viewing that I have been doing for about 10 years, which began with a joint research with a telecommunications company. I was doing this with a telecommunications company and a high -preservatory transmission, with a teacher's team on the campus. Certainly, for example, when it comes to surround transmission, even if you are doing live viewing, for example, the audience will spontaneously applause, or that kind of thing is observed. It would be nice to use a multi -channel, and it would be possible to distribute the sound and images of multiple channels, such as optical transmission. This was a performance, or at the time, the telecommunications company was collaborating with a theater. To make the story easier to understand, talk only here. The theater seems to have been banned from calling out as a customer manner. However, applause in your seat can make it bigger. Even those who are coming to live viewing do not call out with manners, applause. If it was a theater that actually played surround playback, many people applauded and could observe such actions. At that time, I had a meeting with a researcher of a telecommunications company, and I would like to manage that even if I applaud it, I was a live viewing in a movie theater, and it would not reach even if I applaud. That's right. Even if I look at the remote live viewing in a movie theater, it's very nice, but I remembered something very emptiness where I thought I couldn't reach my applause or cheering. I thought about how to solve it. At that time. This story will be long, is that okay?
Hamasaki: That's good. please.
Kawahara: Do you see the drawing here?
Hamasaki: I can see it.
Kawahara: At that time, when live sounds and images were distributed, this is a movie theater and this is a place like the main venue, it will be distributed. Here, the telecommunications company was also a real expert in encoding. It is very difficult to draw applause here, take out the applause ingredients, and apply applause, and it is a wide noise with a white noise -like band. I was able to transmit it at a low delay, I had to be able to do so, thinking a lot of things that were very difficult, and what kind of method I could use here to separate it here. In fact, we suddenly noticed that we shouldn't send the applause itself. The information and status of applauding should be detected, the information that they are applause should be synthesized, and applause should be synthesized. If you can detect the information that you are clapping, send the information that you are clapping, for example, synthesize the clapping that synchronizes according to the rhythm. With this, I experimented on campus, but there was a hall called a multi -dimensional design experiment building, where we applaud and clapping. This was very rewarding or rewarding. This is my hope that I started my research a little longer before Corona, but I want to manage this society. I'm doing something like such a live viewing and signal processing to apply network audio. How is this? Is it interesting?
Hamasaki: Recently, there is an audience concert, and there is no audience there. However, there are people listening in the same space, and the art is completed for the first time. The challenge is how to make a place to listen to. Applause is certainly important. This year, the Vienna Philharmonic New Year Concert was eventually done by the audience. When about 2,000 applicants in advance applauded from their home on the Internet, they added all the sounds and put them out of the speakers at the venue. But, as you said, you can do that because it's just a private house. This research is very interesting because you can't do that at the live viewing venue.
Kawahara: I'm right and I'm progressing, but it's hard to do it, so it's not a social implementation, so it's not reaching the service, so over the years from this year, I researched things like packaging this service. I want to do it. Now, I've been studying various elements of the drawings of the drawings, so I want to be able to use various people as soon as possible. In addition, I think that such a survey must be done properly, such as if you do such feedback, the satisfaction will increase properly as a performer, and that the audience can feel a sense of unity.
Also, this year's graduate student is doing it. He said he wanted to come to my lab and study recording. I myself haven't done much research on recording, but I was told, "I guess the teacher has a lot of connections." In that sense, I did it. His cuts are sharp, and the recorded music analog feeling is tautology as to where it feels. It's difficult to think that digital recorded music feels analog feeling. I'm trying to find out what the nature of the package media is, such as a strain, an analog recorded, or an analog that has been mastered by analog. Now, I'm collecting a lot of words that represent the sound quality of package media. I am also investigating when it is used and trying to proceed with research. Isn't this a hot topic when you talk to overseas people? I was told something like that, and I wrote it here. Research on the quality of recording is difficult to prepare materials to study too much, so I think that energetic people will have to do it with students. Mr. Hamazaki, is the analog feeling of music strange as an expression?
Hamasaki: I feel a little old -fashioned. In the past, you talked like this. Certainly, when digital recording became the mainstream, it is certain that the one who recorded and played through an analog tape recorder once before mastering with rock or pop is done once again in digital recording. And there are still some places that are still doing. That's why it's a hysteresis curve of an analog tape recorder. There may be places where the sound comes forward.
Kawahara: For example, I know that people who know when our generation, 50s and 60's CDs began to appear, don't give such keywords, but now that college students have brought such keywords. I'm surprised.
Hamasaki: That's interesting. Certainly, the cassette tape is now in the spotlight, the cassette tape has begun to be sold, selling albums recorded on cassette tape, and young people are asking for it. That's why vinyl records are clearly increasing. The new young people who do not know the old days, not the people who have reached the digital era in the old days of analog days. I'm really interested in what kind of young people say what analog is. I think it's probably different, what is the analog feeling we think?
Kawahara: I hope this student can physically explain the analog feeling he wanted to say after writing a master's thesis.
Hamasaki: By all means. It's really interesting.
Kawahara: At this stage, I don't know what kind of physical quantity and what kind of hearing is trying to evaluate it as an analog feeling, but he says, "There is definitely." So, I think it would be interesting to proceed with guidance or support while supporting. The recording and this kind of research started this kind of research at the Society of AES, a joint research from a friend or a place where I knew it, and whether the so -called preferred mixing style was different by country. I had done. So, in Japan, Kyushu University was a base, I got it to be selected, I got it as a partner, and studied using the subjects. After that, the student said that he was actually doing recording research. That was because there was a partner, but he said, "I want to do this." How do you do it? He was thinking at that time, so I started thinking so much. But I think it's probably interesting. Also, the other is to form hearing. This is the class I do in the acoustic design department. Is it a training of ears? Speaking of Zaku, it's ear training. I do that, such as developing this curriculum and developing sound sources.
>> Read more: vol.1-5 "What is hearing formation?"
