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38 results for “Sound Field”
"It was recorded on Sunday, morning of the 28th of September as some of the slower runners of the Berlin Marathon made it past Torstrasse near my flat. Iwas out to buy some bread for breakfast, but Iusually bring a camera and my Edirol R-1 recorder whenever Igo out. Since Iwas freshly returned to Berlin Iguess Iwas sensitive to the more antiquated sounds which still survive there, like that of the organ grinder. Iam generally interested in how human beings are replacing the presence of Nature with an artificial environment made entirely by human hands (and thus far more understandable, it is hoped). In this new Human Nature, the sounds of Nature are also Human made. Iwrite about these things, but Ialso use the sounds in my videos and my interactive and generative media work, so generally Iam wandering around building up my archive of media documents for use as material in future works." [Baruch/ gottlieb]17 in Collecting Sounds. Online Sharing of Field Recordings as Cultural Practice
"It was recorded on Sunday, morning of the 28th of September as some of the slower runners of the Berlin Marathon made it past Torstrasse near my flat. Iwas out to buy some bread for breakfast, but Iusually bring a camera and my Edirol R-1 recorder whenever Igo out. Since Iwas freshly returned to Berlin Iguess Iwas sensitive to the more antiquated sounds which still survive there, like that of the organ grinder. Iam generally interested in how human beings are replacing the presence of Nature with an artificial environment made entirely by human hands (and thus far more understandable, it is hoped). In this new Human Nature, the sounds of Nature are also Human made. Iwrite about these things, but Ialso use the sounds in my videos and my interactive and generative media work, so generally Iam wandering around building up my archive of media documents for use as material in future works." [Baruch/ gottlieb]17
"I'm something of an untrained, unofficial cultural anthropologist myself. Ihave a business interviewing people to capture their personal histories. I'm always interested how people fit into their world and how they affect their world. I'm a graphic designer who works in the same building as the printing presses that I recorded. Iwalk past the presses every day on my way to talk to the folks in the prepress department. I'm on friendly but not drinking terms with the pressmen. I'm a friend with the prepress manager. Three Heidelberg presses are installed side by side in an open warehouse-like room. The presses are about twenty feet long and about five feet high. With their series of four humps or mounds where each printing cylinder is located, the presses remind one of giant, gray, mechanical caterpillars. Each press has a cyan cylinder, a magenta cylinder, a yellow cylinder and a black cylinder – so the humps are brightly colored. The presses are well lit by banks of fluorescent lights hanging from the ceiling over each press. When you walk into the press room you hear the sound of rock music blaring from a boom box radio mixed with the general din of the presses. It is only when you walk up to a press like Idid for the recordings that you really start to hear the individual strains of clicking, clacking and mechanical, syncopated chattering. When I made my recordings I was intrigued by the subtle variations in the sounds produced by these machines that aren't apparent when you first walk through the door. The pressmen were kind enough to allow me to walk right up to the presses and poke my microphone quite close to the rotating press cylinders. Iuse a Danish Pro Audio microphone about the size of a pencil eraser. An extremely sensitive mic with the capacity for capturing loud sounds such as the presses up close. Rotating the mic to one side or the other focused on the unique sounds coming from one cylinder or the other." [Kevin/KMerrell]18 in Collecting Sounds. Online Sharing of Field Recordings as Cultural Practice
"I'm something of an untrained, unofficial cultural anthropologist myself. Ihave a business interviewing people to capture their personal histories. I'm always interested how people fit into their world and how they affect their world. I'm a graphic designer who works in the same building as the printing presses that I recorded. Iwalk past the presses every day on my way to talk to the folks in the prepress department. I'm on friendly but not drinking terms with the pressmen. I'm a friend with the prepress manager. Three Heidelberg presses are installed side by side in an open warehouse-like room. The presses are about twenty feet long and about five feet high. With their series of four humps or mounds where each printing cylinder is located, the presses remind one of giant, gray, mechanical caterpillars. Each press has a cyan cylinder, a magenta cylinder, a yellow cylinder and a black cylinder – so the humps are brightly colored. The presses are well lit by banks of fluorescent lights hanging from the ceiling over each press. When you walk into the press room you hear the sound of rock music blaring from a boom box radio mixed with the general din of the presses. It is only when you walk up to a press like Idid for the recordings that you really start to hear the individual strains of clicking, clacking and mechanical, syncopated chattering. When I made my recordings I was intrigued by the subtle variations in the sounds produced by these machines that aren't apparent when you first walk through the door. The pressmen were kind enough to allow me to walk right up to the presses and poke my microphone quite close to the rotating press cylinders. Iuse a Danish Pro Audio microphone about the size of a pencil eraser. An extremely sensitive mic with the capacity for capturing loud sounds such as the presses up close. Rotating the mic to one side or the other focused on the unique sounds coming from one cylinder or the other." [Kevin/KMerrell]18
"The sound comes from a meadow in the Sierra Nevada Mountains in California. The meadow is at an elevation of 2400 meters near a mountain named Olancha Peak, which is 3700 meters in altitude. Ihave a group of friends with which Ibackpack (trek) into the mountains. Our goal was to spend some time in the mountains and hike to the top of Olancha Peak (…) By the time we reached the meadow, we were in a forest and there was still snow on the ground in some places. We took the trip in June of 2006. The Sierra Nevada Mountains are a large mountain range. Much of the range is protected by national parks or preserved areas we call 'wilderness areas' (…) Ihave been backpacking for nearly 40 years and Iwill hopefully continue with this challenging activity for 40 years more! Many of my friends are much younger than Iam and it gives me much satisfaction to be able to have as much or more stamina for this activity than they have! When we are on these trips, we hike up peaks, catch fish, drink some whiskey around campfires and enjoy our time in the beautiful solitude. My memories of this trip were of the steep, hot hike from the desert to the cool meadow; the overall beauty of the nature, the absolute solitude of our campsite near the meadow; the strenuous hike to the top of Olancha Peak; the camaraderie of my friends; and, of course the sound of the frogs in the meadow. The frog sounds were astounding to me and Iwould listen in awe of the creature's instinctual desire to reproduce and continue the existence of their kind. Surely there were different species in the meadow for some of the frog sounds were different than others. The sounds only occurred after the Sun went down for the evening. Istood next to the creek in the meadow and recorded the sounds using my digital camera." [Peter/plentz1960]16 in Collecting Sounds. Online Sharing of Field Recordings as Cultural Practice
"The sound comes from a meadow in the Sierra Nevada Mountains in California. The meadow is at an elevation of 2400 meters near a mountain named Olancha Peak, which is 3700 meters in altitude. Ihave a group of friends with which Ibackpack (trek) into the mountains. Our goal was to spend some time in the mountains and hike to the top of Olancha Peak (…) By the time we reached the meadow, we were in a forest and there was still snow on the ground in some places. We took the trip in June of 2006. The Sierra Nevada Mountains are a large mountain range. Much of the range is protected by national parks or preserved areas we call 'wilderness areas' (…) Ihave been backpacking for nearly 40 years and Iwill hopefully continue with this challenging activity for 40 years more! Many of my friends are much younger than Iam and it gives me much satisfaction to be able to have as much or more stamina for this activity than they have! When we are on these trips, we hike up peaks, catch fish, drink some whiskey around campfires and enjoy our time in the beautiful solitude. My memories of this trip were of the steep, hot hike from the desert to the cool meadow; the overall beauty of the nature, the absolute solitude of our campsite near the meadow; the strenuous hike to the top of Olancha Peak; the camaraderie of my friends; and, of course the sound of the frogs in the meadow. The frog sounds were astounding to me and Iwould listen in awe of the creature's instinctual desire to reproduce and continue the existence of their kind. Surely there were different species in the meadow for some of the frog sounds were different than others. The sounds only occurred after the Sun went down for the evening. Istood next to the creek in the meadow and recorded the sounds using my digital camera." [Peter/plentz1960]16
"I was the class teacher at that time. It was a class trip, usually organized near the end of the schoolterm in summer. The pupils went there by bike to have a barbecue at the sandy banks of the river Rhine near Dusseldorf. The landscape around is mostly dominated by agriculture and glasshouse cultures. You find a mixture of former villages nowadays completely suburbanized. The population finds jobs in the nearby urban centers like Dusseldorf, Neuss and other big cities. The reason why Irecorded the scene is simply because Iam interested in collecting sounds in general by doing recordings in different surroundings like nature, cities and everything between. My memories about the event are that it was a relaxing and funny atmosphere, which is not always the case while teaching in a classroom" [Reinhard/reinsamba]15 in Collecting Sounds. Online Sharing of Field Recordings as Cultural Practice
"I was the class teacher at that time. It was a class trip, usually organized near the end of the schoolterm in summer. The pupils went there by bike to have a barbecue at the sandy banks of the river Rhine near Dusseldorf. The landscape around is mostly dominated by agriculture and glasshouse cultures. You find a mixture of former villages nowadays completely suburbanized. The population finds jobs in the nearby urban centers like Dusseldorf, Neuss and other big cities. The reason why Irecorded the scene is simply because Iam interested in collecting sounds in general by doing recordings in different surroundings like nature, cities and everything between. My memories about the event are that it was a relaxing and funny atmosphere, which is not always the case while teaching in a classroom" [Reinhard/reinsamba]15
"I was on vacation in Mala, living in a self-catering holiday cottage, together with my girlfriend (we're together for 11 years now), recovering from a heavy workload in the second half of 2008. We were sitting outside, probably sipping a beer, when we heard the sound of bells approaching. Stepping on the stones that enclose the little forecourt of the cottage, we could just see the goat herd being driven by. Idashed for my R09 (recording equipment) to get that impression – but too slowly too late, it seemed, the herd had disappeared and with it the sound. When Iwas about to pack my R09 again the sound appeared to come back, so Idashed down the driveway, just in time to see the herd pass, and then Ifollowed it a couple of hundred meters, walking behind the herd, trying not to breathe or make stepping sounds, eventually, when dogs started barking and a car approached from behind, I stopped and let the goats go on, the car passes, honks ... and Icut the recording and walk back to the cottage." [Peter/ptroxler]13 in Collecting Sounds. Online Sharing of Field Recordings as Cultural Practice
"I was on vacation in Mala, living in a self-catering holiday cottage, together with my girlfriend (we're together for 11 years now), recovering from a heavy workload in the second half of 2008. We were sitting outside, probably sipping a beer, when we heard the sound of bells approaching. Stepping on the stones that enclose the little forecourt of the cottage, we could just see the goat herd being driven by. Idashed for my R09 (recording equipment) to get that impression – but too slowly too late, it seemed, the herd had disappeared and with it the sound. When Iwas about to pack my R09 again the sound appeared to come back, so Idashed down the driveway, just in time to see the herd pass, and then Ifollowed it a couple of hundred meters, walking behind the herd, trying not to breathe or make stepping sounds, eventually, when dogs started barking and a car approached from behind, I stopped and let the goats go on, the car passes, honks ... and Icut the recording and walk back to the cottage." [Peter/ptroxler]13
"The place where Idid record the sound "saunan lämmitys" is our family's summerhouse. My father bought it year 1955. He was born nearby in Virojoki village in 1911 and passed away in 2003. As you know Sauna a is very relaxing and important thing to Finns. We like the warm and silence of sauna atmosphere and heating the sauna is almost religious to us. For me it is remembering moments Ispent with my dead father and other relatives. Iam 56 years old internist and living 600 km away from that place but still I visit there for about 2 months yearly." [Timo/timofei]14 in Collecting Sounds. Online Sharing of Field Recordings as Cultural Practice
"The place where Idid record the sound "saunan lämmitys" is our family's summerhouse. My father bought it year 1955. He was born nearby in Virojoki village in 1911 and passed away in 2003. As you know Sauna a is very relaxing and important thing to Finns. We like the warm and silence of sauna atmosphere and heating the sauna is almost religious to us. For me it is remembering moments Ispent with my dead father and other relatives. Iam 56 years old internist and living 600 km away from that place but still I visit there for about 2 months yearly." [Timo/timofei]14
"I am a journalist myself, working for a public radio and television in the Netherlands. As a radio reporter Ivisited Bangladesh just after the cyclone Sidr hit the coastal area in November 1997 (…) Itravelled to the islands on a boat. On that boat were two boatmen and one of them started singing while we were sailing. As Igeotagged this song you can see exactly where it was. Iwas staying at that time in Pirojpur, took a taxi to the river and got a boat. Along tall typical motorboat. It was a journey of three-quarters of an hour during which he sang two songs." [Jeroen/zeshoog]12 in Collecting Sounds. Online Sharing of Field Recordings as Cultural Practice
"I am a journalist myself, working for a public radio and television in the Netherlands. As a radio reporter Ivisited Bangladesh just after the cyclone Sidr hit the coastal area in November 1997 (…) Itravelled to the islands on a boat. On that boat were two boatmen and one of them started singing while we were sailing. As Igeotagged this song you can see exactly where it was. Iwas staying at that time in Pirojpur, took a taxi to the river and got a boat. Along tall typical motorboat. It was a journey of three-quarters of an hour during which he sang two songs." [Jeroen/zeshoog]12
Data of Listening Experiments for Azimuthal Localisation in (Local) Sound Field Synthesis
<p>Data of two listening experiments conducted at University of Rostock, Germany. The study investigated the four (Local) Sound Field Synthesis techniques</p> <ul> <li>Wave Field Synthesis</li> <li>Near-Field-Compensated Higher-Order Ambisonics</li> <li>Local Wave Field Synthesis using Spatial Bandwidth Limitation</li> <li>Local Wave Field Synthesis using Virtual Secondary Sources</li> </ul> <p>The corresponding binaural room scanning (BRS) files for the binaural simulation can be found in the directory `brs`. The employed noise stimulus is contained in `stimuli`. The localisation results are stored in `results`. The `analysis` directory includes scripts for parsing the data.</p>
Dataset for supervised learning with a deep neural network to assess azimuthal localisation in sound field synthesis
<p>Dataset for supervised learning with a deep neural network to assess azimuthal localisation in sound field synthesis.<br> Released as part of the Master Thesis 'An Auditory Model for Azimuthal Localisation in Sound Field Synthesis'.</p> <p>This database is calculated from the data of listening experiments.</p>
Sound field image dataset
<p><strong>Description</strong></p> <p>This <strong>sound field image dataset</strong> contains clean-noisy pairs of complex-valued sound-field images generated by 2D acoustic simulations. The dataset was initially prepared for <strong>deep sound-field denoiser </strong>(<a href="https://github.com/nttcslab/deep-sound-field-denoiser">https://github.com/nttcslab/deep-sound-field-denoiser</a>)<strong>,</strong> a DNN-based denoising method for optically measured sound fields. Since the data is a two-dimensional sound field based on the Helmholtz equation, one can use this dataset for any acoustic application. Please check our <a href="https://github.com/nttcslab/deep-sound-field-denoiser">GitHub repository</a> and <a href="https://arxiv.org/abs/2304.14923">paper</a> for details.</p> <p> </p> <p><strong>Directory structure</strong></p> <p>The dataset contains three directories: training, validation, and evaluation. Each directory contains "soundsource#" sub-directories (# represents the number of sound sources used in the acoustic simulation). Each sub-directory has three h5 files for data (clean, white noise, and speckle noise) and three CSV files listing random parameter values used in the simulation.</p> <p>- /training</p> <p> - /soundsource#</p> <p> - constants.csv</p> <p> - random_variable_ranges.csv</p> <p> - random_variables.csv</p> <p> - sf_true.h5</p> <p> - sf_noise_white.h5</p> <p> - sf_noise_speckle.h5</p> <p> </p> <p><strong>Condition of use</strong></p> <p>This dataset is available under the attached license file. Read the terms and conditions in NTTSoftwareLicenseAgreement.pdf carefully.</p> <p> </p> <p><strong>Citation</strong></p> <p>If you use this dataset, please cite the following paper.</p> <ul> <li> <p>K. Ishikawa, D. Takeuchi, N. Harada, and T. Moriya ``Deep sound-field denoiser: optically-measured sound-field denoising using deep neural network,'' arXiv:2304.14923 (2023).</p> </li> </ul>
Water lap from South East Misool Island off West Papua10 in Collecting Sounds. Online Sharing of Field Recordings as Cultural Practice
Water lap from South East Misool Island off West Papua10
A in Collecting Sounds. Online Sharing of Field Recordings as Cultural Practice
A street in downtown Delhi9
Data from: AviaNZ: a future-proofed program for annotation and recognition of animal sounds in long-time field recordings
The routine collection of long‐time acoustic recordings of animals in the field presents new challenges in data analysis. While many terabytes of data are collected annually, effective use of this noisy, highly variable data require skilled humans to manually identify calls. While computer programs to automatically analyse these recordings are becoming available, it is important that they are user‐friendly and easy‐to‐use, so that everybody – citizen scientists, wildlife managers, researchers – can take advantage of them, and that they keep the human in the loop so analyses carried out this year are comparable both to manual call counts from the past, and more accurate automated analyses performed in the future. We present the AviaNZ program, which is designed to achieve these goals: the software includes methods for simple, rapid manual annotation of recordings, denoising and segmentation methods, and a training procedure by which the user can prepare their own filters to automatically recognize individual species. The software can run in batch mode, automatically processing folders of field recordings, and then present the outputs to enable the quick and easy review of the results. Finally, the outputs are presented in a variety of spreadsheets to enable different statistical analyses to be performed. We describe the various workflows of manually and semi‐automatically processing sound files, annotating them to train automatic filters, using those filters in batch mode, and how the software facilitates rapid evaluation of the automated analysis. A demonstration of the software, comparing manual and automatic detection of calls of the little spotted kiwi Apteryx owenii is given. It shows that while the automatic detection does produce false positives, human correction of these is far faster than manual review of the whole sound file. AviaNZ is a freely available open‐source standalone program. Our experience shows that it can be used by anybody quickly and easily. However, for experienced users it is easily customizable and extendable. By enabling everybody involved with acoustic bird recording to quickly and easily analyse their own data, while future‐proofing it by keeping the human in the loop, we are enabling acoustic field recordings to meet their potential.
Data from: AviaNZ: a future-proofed program for annotation and recognition of animal sounds in long-time field recordings
Open the record for dataset details and reuse information.
"This was on this huge market Kikar Shabat in Jerusalem. Iwas on holiday in Israel during a Jewish Festival called Sukkot. I live in England and I'm a Jew. Iwas in the market to buy lulav and estrog. It was a huge traditional festive fair opened a week after Sukkot. It was my first trip to Israel since Iwas a teenager. There was bustle, a lot of Jews. Irecorded this sound, because Iwanted to have a souvenir, to keep this experience of this bustle and hubbub". [Mike/Sparrer]11 in Collecting Sounds. Online Sharing of Field Recordings as Cultural Practice
"This was on this huge market Kikar Shabat in Jerusalem. Iwas on holiday in Israel during a Jewish Festival called Sukkot. I live in England and I'm a Jew. Iwas in the market to buy lulav and estrog. It was a huge traditional festive fair opened a week after Sukkot. It was my first trip to Israel since Iwas a teenager. There was bustle, a lot of Jews. Irecorded this sound, because Iwanted to have a souvenir, to keep this experience of this bustle and hubbub". [Mike/Sparrer]11
Comparison Between Ultra Sound Guided Rectus Sheath Block and Field Block for Midline Hernia Repair
ClinicalTrials.gov study NCT03225313. IPD Sharing: Not stated. Countries: 1. Publications: 0.
Sound field image with objects dataset
<h2>Description</h2> <p>This sound field image with objects dataset contains clean-noisy pairs of complex-valued sound-field images generated by 2D acoustic simulations. The dataset was initially prepared for SoundSil-DS (https://github.com/nttcslab/soundsil-ds), a DNN-based denoising method for optically measured sound fields. Please check our GitHub repository and paper for details.</p> <h2><br>Directory structure</h2> <p>The dataset contains three directories: training, validation, and evaluation. Each directory contains "soundsource#" sub-directories (# represents the number of sound sources used in the acoustic simulation). Each sub-directory has three h5 files for data (clean, white noise, and object-mask) and one CSV file listing random parameter values used in the simulation.</p> <p>- /training</p> <p> - /soundsource#</p> <p> - sf_true.h5</p> <p> - sf_noise_white.h5</p> <p> - mask_data.h5</p> <p> - random_variables.csv</p>
Intense cicada – Quesada Gigas – ambience from Catamarca8 in Collecting Sounds. Online Sharing of Field Recordings as Cultural Practice
Intense cicada – Quesada Gigas – ambience from Catamarca8
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