Journal articles on the topic 'Room acoustics'
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Neidhardt, Annika, Christian Schneiderwind, and Florian Klein. "Perceptual Matching of Room Acoustics for Auditory Augmented Reality in Small Rooms - Literature Review and Theoretical Framework." Trends in Hearing 26 (January 2022): 233121652210929. http://dx.doi.org/10.1177/23312165221092919.
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For the realization of auditory augmented reality (AAR), it is important that the room acoustical properties of the virtual elements are perceived in agreement with the acoustics of the actual environment. This perceptual matching of room acoustics is the subject reviewed in this paper. Realizations of AAR that fulfill the listeners’ expectations were achieved based on pre-characterization of the room acoustics, for example, by measuring acoustic impulse responses or creating detailed room models for acoustic simulations. For future applications, the goal is to realize an online adaptation in (close to) real-time. Perfect physical matching is hard to achieve with these practical constraints. For this reason, an understanding of the essential psychoacoustic cues is of interest and will help to explore options for simplifications. This paper reviews a broad selection of previous studies and derives a theoretical framework to examine possibilities for psychoacoustical optimization of room acoustical matching.
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Ellison, Steve, Pierre Germain, and Roger Schwenke. "Making a room ready and ensuring success for active acoustics systems." Journal of the Acoustical Society of America 154, no. 4_supplement (October 1, 2023): A169. http://dx.doi.org/10.1121/10.0023160.
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Active Acoustics systems can be thought of as reducing the effective absorption of a room and/or increasing its effective volume and depend upon well-designed acoustic treatment and room shaping. Because Active Acoustics systems cannot reduce HVAC noise or improve isolation, these associated acoustical properties depend on the room’s acoustical design. Therefore, a successful Active Acoustic system installation relies on coordination with the acoustical consultant, from conceptual design to scheduling initial rehearsals with the various performance groups that utilize the room. Installation examples from around the world, including Australasia, are provided to illustrate lessons learned for developing successful projects.
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Masih, Dawa A. A., Nawzad K. Jalal, Manar N. A. Mohammed, and Sulaiman A. Mustafa. "The Assessment of Acoustical Characteristics for Recent Mosque Buildings in Erbil City of Iraq." ARO-THE SCIENTIFIC JOURNAL OF KOYA UNIVERSITY 9, no. 1 (March 1, 2021): 51–66. http://dx.doi.org/10.14500/aro.10784.
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The study of mosque acoustics, concerning acoustical features, sound quality for speech intelligibility, and additional practical acoustic criteria, is commonly overlooked. Acoustic quality is vital to the fundamental use of mosques, in terms of contributing toward prayers and worshippers’ appreciation. This paper undertakes a comparative analysis of the acoustic quality level and the acoustical characteristics for two modern mosque buildings constructed in Erbil city. This work investigates and examines the acoustical quality and performance of these two mosques and their prayer halls through room simulation using ODEON Room Acoustics Software, to assess the degree of speech intelligibility according to acoustic criteria relative to the spatial requirements and design guidelines. The sound pressure level and other room-acoustic indicators, such as reverberation time (T30), early decay time, and speech transmission index, are tested. The outcomes demonstrate the quality of acoustics in the investigated mosques during semi-occupied and fully-occupied circumstances. The results specify that the sound quality within the both mosques is displeasing as the loudspeakers were off.
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Postma, Barteld N. J., and Brian F. G. Katz. "An archaeoacoustic study on shape: the case study of the Iffland Theatre’s history (1802–1817)." Acta Acustica 7 (2023): 54. http://dx.doi.org/10.1051/aacus/2023046.
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Previous studies have discussed six pre-Sabine quantifiable guidelines employed in room acoustic design: voice directivity, audience rake, “echo theory”, stage acoustics, reverberation, and length, width, and height ratios. Around the turn of the 18th century, these notions led to two shapes that were theoretically regarded optimal for rooms with acoustical demands: ellipse and semi-circle. The first of these shapes to be tested was the ellipse in the design for the Iffland Theatre (1802–1817). As the resulting acoustics were notoriously poor, contemporary architects and acousticians discussed the grounds for the failed acoustics as well as possible corrections. Multiple subsequent halls were also based on lessons learned from this acoustic failure. As part of this archaeoacoustics research, geometric acoustic numerical simulations were employed to estimate the actual and renovated room acoustic conditions. Three configurations of the hall have been reconstructed. Results show that the hall’s shape led to sound focusing and that the rounded proscenium arch likely induced echoes. Proposed solutions of the time to increase the scattering or absorption appear unlikely to have solved the observed acoustic problems.
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Zhang, Zhichao, and Guangzheng Yu. "Influence of sound source directivity on finite element simulation of small-room acoustics." Journal of the Acoustical Society of America 152, no. 4 (October 2022): A42. http://dx.doi.org/10.1121/10.0015479.
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Numerical simulation is a flexible and effective method for room acoustic design. Full-range simulation of room acoustics requires a combination of different numerical methods, in which wave acoustic methods (WAM) and geometric acoustic methods (GAM) are used for the low and high frequency region, respectively. In the general low-frequency WAM simulation, a sound source is often assumed to be a point source or loudspeakers are usually approximated by circular planar pistons. However, compared to a large room, the critical frequency between WAM and GAM should be higher in acoustic simulation of small rooms because of relative size between the wavelength and the room, and thus, the above simplifications of actual sound sources, typically loudspeakers, may lead to errors in terms of directivity in the frequency range that the WAM is applied for. Further errors in the desired room impulse responses or other room acoustic parameters caused by directivity errors needs quantitative analysis, and then evaluation can be made on whether it is necessary to consider a more accurate sound source directivity in the WAM simulation of small room acoustics.
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Meyer-Kahlen, Nils, Sebastian J. Schlecht, and Tapio Lokki. "Clearly audible room acoustical differences may not reveal where you are in a room." Journal of the Acoustical Society of America 152, no. 2 (August 2022): 877–87. http://dx.doi.org/10.1121/10.0013364.
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A common aim in virtual reality room acoustics simulation is accurate listener position dependent rendering. However, it is unclear whether a mismatch between the acoustics and visual representation of a room influences the experience or is even noticeable. Here, we ask if listeners without any special experience in echolocation are able to identify their position in a room based on the acoustics alone. In a first test, direct comparison between acoustic recordings from the different positions in the room revealed clearly audible differences, which subjects described with various acoustic attributes. The design of the subsequent experiment allows participants to move around and explore the sound within different zones in this room while switching between visual renderings of the zones in a head-mounted display. The results show that identification was only possible in some special cases. In about 74% of all trials, listeners were not able to determine where they were in the room. The results imply that audible position dependent room acoustic rendering in virtual reality may not be noticeable under certain conditions, which highlights the importance of evaluation paradigm choice when assessing virtual acoustics.
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Thompson, David. "Room Acoustics." Journal of Sound and Vibration 413 (January 2018): 482–83. http://dx.doi.org/10.1016/j.jsv.2017.10.019.
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Lam, Y. W. "Room acoustics." Applied Acoustics 35, no. 4 (1992): 333–34. http://dx.doi.org/10.1016/0003-682x(92)90060-6.
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Allen, Matthew S., Brian E. Anderson, Jonathan D. Blotter, Kent L. Gee, Tracianne B. Neilsen, Micah Shepherd, and Scott D. Sommerfeldt. "Graduate acoustics at Brigham Young University." Journal of the Acoustical Society of America 152, no. 4 (October 2022): A122. http://dx.doi.org/10.1121/10.0015753.
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Graduate studies in acoustics at Brigham Young University prepare students for industry, research, and academia by complementing in-depth coursework with publishable research. Coursework provides a solid foundation in core acoustical principles and practices and measurement skills, including a strong foundation in experimental techniques and technical writing. Labs across the curriculum cover calibration, directivity, scattering, absorption, laser Doppler vibrometry, experimental methods for dynamic structures, lumped-element mechanical systems, equivalent circuit modeling, arrays, filters, room acoustics, active noise control, and near-field acoustical holography. Recent thesis and dissertation topics include active noise control, directivity, room acoustics, energy-based acoustics, time reversal, nondestructive evaluation, vibration and acoustics of aerospace vehicles, biomedical applications, flow-based acoustics, voice production, aeroacoustics, sound propagation modeling, nonlinear propagation, high-amplitude noise analyses, machine and deep learning applied to ambient noise level prediction, crowd noise interpretation, and underwater acoustic source localization, and ocean environment classification. Graduate students are expected to present research at professional meetings and publish in peer-reviewed acoustics journals. Additionally, graduate students often serve as peer mentors to undergraduate students on related projects and may participate in field experiments to gain additional experience.@BYUAcoustics
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Woszczyk, Wieslaw. "Active Acoustics in Concert Halls - A New Approach." Archives of Acoustics 36, no. 2 (May 1, 2011): 379–93. http://dx.doi.org/10.2478/v10168-011-0028-6.
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Abstract Active acoustics offers potential benefits in music halls having acoustical short-comings and is a relatively inexpensive alternative to physical modifications of the enclosures. One critical benefit of active architecture is the controlled variability of acoustics. Although many improvements have been made over the last 60 years in the quality and usability of active acoustics, some problems still persist and the acceptance of this technology is advancing cautiously. McGill's Virtual Acoustic Technology (VAT) offers new solutions in the key areas of performance by focusing on the electroacoustic coupling between the existing room acoustics and the simulation acoustics. All control parameters of the active acoustics are implemented in the Space Builder engine by employing multichannel parallel mixing, routing, and processing. The virtual acoustic response is created using low-latency convolution and a three-way temporal segmentation of the measured impulse responses. This method facilitates a sooner release of the virtual room response and its radiation into the surrounding space. Field tests are currently underway at McGill University involving performing musicians and the audience in order to fully assess and quantify the benefits of this new approach in active acoustics.
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Berg, Frederick S., James C. Blair, and Peggy V. Benson. "Classroom Acoustics." Language, Speech, and Hearing Services in Schools 27, no. 1 (January 1996): 16–20. http://dx.doi.org/10.1044/0161-1461.2701.16.
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Classroom acoustics are generally overlooked in American education. Noise, echoes, reverberation, and room modes typically interfere with the ability of listeners to understand speech. The effect of all of these acoustical parameters on teaching and learning in school needs to be researched more fully. Research has shown that these acoustical problems are commonplace in new as well as older schools, and when carried to an extreme, can greatly affect a child's ability to understand what is said (Barton, 1989; Blair, 1990; Crandell, 1991; Finitzo, 1988). The precise reason for overlooking these principles needs to be studied more fully. Recently, however, acoustic principles have been clarified, and technologies for measuring room acoustics and providing sound systems have become available to solve many of the acoustical problem in classrooms (Berg, 1993; Brook, 1991; D'Antonio, 1989; Davis & Davis, 1991; Davis & Jones, 1989; Eargle, 1989; Egan, 1988; Everest, 1987, 1989; Foreman, 1991; Hedeen, 1980). This article describes parameters of the problem, its impact on students and teachers, and four possible solutions to the problem. These solutions are noise control, signal control without amplification, individual amplification systems, and sound field amplification systems.
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Yoshida, Takumi, Takeshi Okuzono, and Kimihiro Sakagami. "Binaural Auralization of Room Acoustics with a Highly Scalable Wave-Based Acoustics Simulation." Applied Sciences 13, no. 5 (February 22, 2023): 2832. http://dx.doi.org/10.3390/app13052832.
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This paper presents a proposal of an efficient binaural room-acoustics auralization method, an essential goal of room-acoustics modeling. The method uses a massively parallel wave-based room-acoustics solver based on a dispersion-optimized explicit time-domain finite element method (TD-FEM). The binaural room-acoustics auralization uses a hybrid technique of first-order Ambisonics (FOA) and head-related transfer functions. Ambisonics encoding uses room impulse responses computed by a parallel wave-based room-acoustics solver that can model sound absorbers with complex-valued surface impedance. Details are given of the novel procedure for computing expansion coefficients of spherical harmonics composing the FOA signal. This report is the first presenting a parallel wave-based solver able to simulate room impulse responses with practical computational times using an HPC cloud environment. A meeting room problem and a classroom problem are used, respectively, having 35 million degrees of freedom (DOF) and 100 million DOF, to test the parallel performance of up to 6144 CPU cores. Then, the potential of the proposed binaural room-acoustics auralization method is demonstrated via an auditorium acoustics simulation of up to 5 kHz having 750,000,000 DOFs. Room-acoustics auralization is performed with two acoustics treatment scenarios and room-acoustics evaluations that use an FOA signal, binaural room impulse response, and four room acoustical parameters. The auditorium acoustics simulation showed that the proposed method enables binaural room-acoustics auralization within 13,000 s using 6144 cores.
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Algargoosh, Alaa, and Nikhil Singh. "Using machine learning to reconstruct room geometry from an impulse response." Journal of the Acoustical Society of America 153, no. 3_supplement (March 1, 2023): A263. http://dx.doi.org/10.1121/10.0018790.
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Machine learning in room acoustics is an emerging field with great potential yet to be explored. Previous research includes predicting acoustic properties such as the impulse response from visual features that include an image of a room. However, one application that can significantly transform the architectural acoustics design process is reconstructing the room geometry based on its acoustic properties. This paper explores applying machine learning in predicting room geometry from an impulse response. The research aims to provide a tool for architects to design a room based on the desired acoustic experience.
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Okazawa, Kazuha, Takeshi Okuzono, and Takumi Yoshida. "An auditory virtual reality of meeting room acoustics using wave-based acoustic simulations: A content for intuitive understanding of room-acoustics control effect by sound absorbers." INTER-NOISE and NOISE-CON Congress and Conference Proceedings 268, no. 2 (November 30, 2023): 6328–35. http://dx.doi.org/10.3397/in_2023_0934.
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Recently, wave-based room acoustic simulation technologies are becoming a realistic option as a small-room acoustics design tool and a virtual indoor sound environment creation tool for research and education. The present paper shows an auditory VR meeting room content, which makes us easily understand how sound absorbers play an essential role in creating a better acoustic environment. Unity creates the 3D virtual reality model, and a binaural room-acoustic auralization is realized by a hybrid technique combined with Ambisonics and the head-related transfer function using RIRs computed by a high-speed parallel wave-based room acoustics solver. The VR meeting room is constructed under various acoustic treatments with sound absorber modeling by wave-based material models.
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D'Antonio, Peter, and Rinaldi P. Petrolli. "Non-cuboid iterative room optimizer." Journal of the Acoustical Society of America 152, no. 4 (October 2022): A105. http://dx.doi.org/10.1121/10.0015694.
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The growing processing power of desktop and distributed cloud cluster computing is playing a larger role providing computational architectural acoustic solutions. This presentation will provide a status update on the Non-cuboid Iterative Room Optimization software called NIRO. It offers an iterative approach to full bandwidth optimization of critical listening rooms. The program uses a finite element method (FEM), image source model (ISM), and non-dominating sorting genetic algorithm (NSGA) to simultaneously optimize the room geometry of any shaped room, including boundary admittances, for any number of listeners and loudspeakers. It minimizes the weighted sum of the modal response and speaker boundary interference response, the spatial uniformity around the mix position and reflections in the reflection free zone (RFZ). With an optimal room setup, acoustical diffusors and absorbers with a specified resonant frequency, bandwidth, and efficiency are added to the model to optimize the acoustic properties. A combination of FEM, ISM, and an additional geometrical acoustics model is used to generate full bandwidth impulse responses. The RFZ, envelopment, reverberation time, low-frequency response, and temporal decay are optimized and evaluated. Following the addition of HRTFs, stereo auralization can be generated. Proof of performance and application examples will be presented.
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Zhu, Liying, Junjuan Zhao, Xianhui Li, Bin Zhang, Yueyue Wang, Wenjiang Wang, and Yunan Liu. "Design and simulation of acoustics for the home theatre." INTER-NOISE and NOISE-CON Congress and Conference Proceedings 263, no. 4 (August 1, 2021): 2052–57. http://dx.doi.org/10.3397/in-2021-2039.
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As a typical acoustics room, the sound quality of home theatre is an important standard to evaluate its design. Qualified acoustics design is the guarantee of good sound quality. The volume of home theatre is generally small, so the room size is similar to the low-frequency wavelength. Then the resonance will occur when the excitation of the sound source frequency acts on the natural resonance frequency of the room. At the same time, the secondary reflection of the room also interferes the direct sound emitted by the speaker, thus destroying the sound image. In order to solve the above problems, this paper took a home theatre as an example, analyzed the normal modes of the room by the theory of wave acoustics, and then made an acoustics design and simulation. The simulation results showed that the reverberation time was up to the relevant standards and the room acoustic quality environment was improved obviously after the acoustic design.
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Vorländer, Michael. "Virtual Acoustics." Archives of Acoustics 39, no. 3 (March 1, 2015): 307–18. http://dx.doi.org/10.2478/aoa-2014-0036.
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Abstract Virtual Reality (VR) systems are used in engineering, architecture, design and in applications of biomedical research. The component of acoustics in such VR systems enables the creation of audio-visual stimuli for applications in room acoustics, building acoustics, automotive acoustics, environmental noise control, machinery noise control, and hearing research. The basis is an appropriate acoustic simulation and auralization technique together with signal processing tools. Auralization is based on time-domain modelling of the components of sound source characterization, sound propagation, and on spatial audio technology. Whether the virtual environment is considered sufficiently accurate or not, depends on many perceptual factors, and on the pre-conditioning and immersion of the user in the virtual environment. In this paper the processing steps for creation of Virtual Acoustic Environments and the achievable degree of realism are briefly reviewed. Applications are discussed in examples of room acoustics, archeological acoustics, aircraft noise, and audiology.
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Woszczyk, Wieslaw, Doyuen Ko, and Brett Leonard. "Virtual Acoustics at the Service of Music Performance and Recording." Archives of Acoustics 37, no. 1 (March 1, 2012): 109–13. http://dx.doi.org/10.2478/v10168-012-0015-6.
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Abstract Virtual or active acoustics refers to the generation of a simulated room response by means of electroacoustics and digital signal processing. An artificial room response may include sound reflections and reverberation as well as other acoustic features mimicking the actual room. They will cause the listener to have an impression of being immersed in virtual acoustics of another simulated room that coexists with the actual physical room. Using low-latency broadband multi-channel convolution and carefully measured room data, optimized transducers for rendering of sound fields, and an intuitive touch control user interface, it is possible to achieve a very high perceived quality of active acoustics, with a straightforward adjustability. The electroacoustically coupled room resulting from such optimization does not merely produce an equivalent of a back-door reverberation chamber, but rather a fully functional complete room superimposed on the physical room, yet with highly selectable and adjustable acoustic response. The utility of such active system for music recording and performance is discussed and supported with examples.
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okcu, selen. "Realism analysis of synthesized healthcare sound environments." Journal of the Acoustical Society of America 152, no. 4 (October 2022): A182. http://dx.doi.org/10.1121/10.0015965.
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The acoustic qualities of healthcare sound environments can have significant influences on care providers’ ability to conduct critical sound tasks. Healthcare professionals constantly listen to the aural cues (e.g., alarms) and make critical decisions based on them. This study aims to assess the reliability of an open-source acoustical simulation tool in rendering healthcare providers’ auditory experience to enable the development of effective healthcare sound environments. The Pachyderm is developed as an open-source acoustical modeling and simulation plug-in for the Rhinoceros 3D-modeling platform commonly used by designers. The plug-in can compute various room acoustics metrics and generate auralizations by convolving anechoic recordings with the predicted acoustic signature of the architectural settings. While reliable predicted acoustic metrics are critical for iterative room-acoustics design studies, high fidelity auralizations can enable acoustic evaluations mainly based on critical listening and encourage collaboration between acoustical consultants, care providers and designers. The study introduces the findings of acoustic assessments including simulations and field measurements conducted in a new 14-bed adult medical-surgical inpatient unit at Milton S. Hershey Medical Center. The effectiveness is evaluated based on the deviation between the predicted and measured objective measures, and perceived differences between the auralizations and audio recordings assessed via listening tests.
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Way, Evelyn. "Evaluating the reverberation chamber as a small room: How room dimensions affect the generalization of testing results." Journal of the Acoustical Society of America 152, no. 4 (October 2022): A42. http://dx.doi.org/10.1121/10.0015476.
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Testing acoustic properties is performed in specially designed reverberation chambers according to relevant ASTM, ISO, and other international standards. Performing this testing is complicated by the fact that practical considerations limit the size of the reverberation rooms. Where the dimensions of the room are similar in size to the wavelength of the frequency of interest, modal behavior becomes dominant, and the statistical analysis of room acoustics based on the diffuse sound field theory is not sufficient to characterize the sound field. However, standard methods implement formulas which assume a diffuse sound field to compare results from different labs. Using the Maxon Acoustics Lab, a purpose-built floor ceiling test lab comprised of two stacked, 300 m3 reverberation chambers, we will examine the various physical criteria for evaluating a theoretically diffuse sound field. Discussion will include historical debates concerning the validity of comparing measurements in different labs and an analysis of the Maxxon Lab through the lens of various methods for evaluating the acoustic environment in comparison to the statistical analysis for room acoustics. Methods will include analysis of modal density and distribution, sampling of the sound field per ASTM standards E90, E492, and C423, the Schroeder frequency, and other statistical analyses.
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Knöfel, Björn, Paula van Brummelen, Tobias Behrens, and Hartmut Schirmer. "Does the wall sound different? Variable acoustics in rehearsal rooms using small resonator structures in an acoustic panel." INTER-NOISE and NOISE-CON Congress and Conference Proceedings 263, no. 5 (August 1, 2021): 1867–78. http://dx.doi.org/10.3397/in-2021-1972.
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As the name already states, multipurpose rooms are often used from various people for different intentions like meetings or musical practicing. One example are musical rehearsal rooms, where the acoustic specifications have to meet the requirements of musicians playing different instrument groups. To meet the desire for variable acoustics in a rehearsal room, musicians often like to adjust the room to there personal preferences, what is mostly done by adjusting the frequency dependent room decay curve (T60). Hence, a variable acoustic panel has been developed which consists of several small adjustable resonator structures. In a closed state, the structure acts like a resonator. Although Helmholtz resonators are mostly used at low frequencies, the acoustic panel can address acoustic resonance absorption in the mid-frequency range between 500 Hz and 1.500 Hz. The paper highlights especially the dimensioning of the resonators and its measurements in an impedance tube, a reverberation cabin and a reverberation room. Finally, the prototype of the acoustic panel has been analysed in different rehearsal rooms where musicians examine the panel and T60 differences between the open and closed state of the panel were measured.
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Sari, Laina Hilma, and Zulfian Zulfian. "An Assessment of Room Acoustics Performance of Baiturrahman Grand Mosque." Elkawnie 6, no. 1 (June 30, 2020): 24. http://dx.doi.org/10.22373/ekw.v6i1.5420.
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Abstract : Acoustical design as part of the audio comfort influences the architectural design strategy of a mosque significantly. As belonging to the speech room criteria, a mosque should meet some acoustic room requirements to deliver the solemnness to the worshipper during the prayer. Concerning this, the study aims to assess the indoor acoustics performance of Baiturrahman Grand Mosque, Banda Aceh. Baiturrahman grand mosque is an important place of worship for Acehnese and becoming a landmark of Banda Aceh City. The mosque which contains a lot of history of Aceh was built in heavy construction, i.e. concrete wall, marble coated floor, and concrete dome ceiling. Due to its significance, the room acoustics of the mosque as the primary design considerations in a speech room type is evaluated. The acoustics parameters estimated are Noise Criteria (NC), Sound Pressure Level (SPL), Reverberation Time (RT), and Rapid Speech Transmission Index (RASTI). The background noise was recorded for delivering the noise criteria and being the primary data carried out in the acoustic simulation. The study utilised CATT-Acoustic v7.2 software for simulating predicting SPL, RT, and RASTI.Abstrak : Desain akustik merupakan bagian dari parameter audio yang mempengaruhi desain arsitektur masjid secara signifikan. Masjid termasuk dalam kategori speech room yang harus memenuhi beberapa persyaratan akustik ruang untuk dapat menghadirkan kekhusyukan kepada jamaah selama sholat. Penelitian ini bertujuan untuk menilai kinerja akustik dalam ruangan Masjid Raya Baiturrahman, Banda Aceh. Masjid Raya Baiturrahman adalah tempat ibadah yang penting bagi orang Aceh dan menjadi simbol Kota Banda Aceh. Masjid yang memuat banyak sejarah Aceh ini terbuat dari dinding beton, lantai berlapis marmer, dan langit-langit kubah beton. Pada studi ini, parameter akustik ruang yang dievaluasi adalah Kriteria Kebisingan (NC), Tingkat Tekanan Suara (SPL), Waktu Gema (RT), dan Indeks Transmisi kecepatan Bicara (RASTI). Kebisingan latar belakang direkam untuk memberikan kriteria kebisingan dan menjadi data primer yang dilakukan dalam simulasi akustik. Studi ini menggunakan perangkat lunak CATT-Acoustic v7.2 untuk mensimulasikan prediksi SPL, RT, dan RASTI.
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Bellows, Samuel D., and Timothy W. Leishman. "An investigation of rooms with reflection-free zones using finite-difference methods in curvilinear coordinates." Journal of the Acoustical Society of America 153, no. 3_supplement (March 1, 2023): A109. http://dx.doi.org/10.1121/10.0018331.
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Small-room acoustical designers have applied the concept of early reflection-free zones (RFZs) to recording studio control rooms and other critical listening environments. The rooms' unique shapes and treatments create listening regions with minimal early reflections to improve audio monitoring. One standard tool for studying room acoustics is the finite-difference(FD) method. However, it typically uses regular Cartesian grids, which lead to stair-casing discretization effects for arbitrarily shaped boundaries, including those of the RFZ room. This work presents how FD methods in curvilinear coordinates overcome these difficulties. Both modal and time-domain analyses yield insights into the acoustical differences between RFZ and rectangular shoebox rooms.
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Autio, Hanna, Mathias Barbagallo, Carolina Ask, Delphine Bard Hagberg, Eva Lindqvist Sandgren, and Karin Strinnholm Lagergren. "Historically Based Room Acoustic Analysis and Auralization of a Church in the 1470s." Applied Sciences 11, no. 4 (February 10, 2021): 1586. http://dx.doi.org/10.3390/app11041586.
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Worship space acoustics have been established as an important part of a nation’s cultural heritage and area of acoustic research, but more research is needed regarding the region of northern Europe. This paper describes the historical acoustics of an important abbey church in Sweden in the 1470s. A digital historical reconstruction is developed. Liturgical material specific to this location is recorded and auralized within the digital reconstruction, and a room acoustic analysis is performed. The analysis is guided by liturgical practices in the church and the monastic order connected to it. It is found that the historical sound field in the church is characterized by the existence of two distinct acoustical subspaces within it, each corresponding to a location dedicated to the daily services of the monastical congregations. The subspaces show significantly better acoustic conditions for liturgical activities compared to the nave, which is very reverberant under the conditions of daily services. Acoustic transmission from the two subspaces is limited, indicating that the monastic congregations were visually and acoustically separated from the visitors in the nave and each other.
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Woszczyk, Wieslaw, Aybar Aydin, and Ying-Ying Zhang. "Virtual Acoustics, better than the real thing? Considering the creative side." Journal of the Acoustical Society of America 152, no. 4 (October 2022): A181. http://dx.doi.org/10.1121/10.0015962.
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Once room acoustical reflections data are extracted from a physical space or a model, and are encapsulated in a 3D impulse response, they can be used to render immersive sound fields in real time. A range of possibilities then opens for creative use of acoustics in music. A skilled virtual acoustics designer-engineer may rebalance digital signals representing the room response to situate player and listener on the stage or at the back of the auditorium, may modify and arrange temporal segments to re-imagine the aural dimensions of the space, and apply gain and directional placement to shape the impression of immersive presence, adapting acoustics to musicians’ creative needs. In the process of building an idealized acoustical environment for the music, techniques of sound reinforcement and of rendering room acoustics are combined to balance presence with ambience and to deliver a sensation of acoustical power with lift-off. The means exist to move beyond acoustical realism into fictionalized acoustics.
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Orzolek, Douglas C., and Shelley A. Blilie. "Teaching Room Acoustics." Physics Teacher 60, no. 7 (October 2022): 554–56. http://dx.doi.org/10.1119/5.0038523.
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Like many other universities, Musical Acoustics is offered at our school as a lab-based course fulfilling general science requirements for non-majors. The course has been team-taught by a physics professor and music professor since its earliest inception and, by far, the most popular unit explores room acoustics through a variety of activities and experiences. The purpose of this article is to share the ways we engage students in the process of learning the conceptual elements related to room acoustics.
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Hartmann, William M., Brad Rakerd, and Ryan A. Cook. "Binaural room acoustics." Journal of the Acoustical Society of America 130, no. 4 (October 2011): 2352. http://dx.doi.org/10.1121/1.3654418.
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Herbert, R. Kring. "Teleconference room acoustics." Journal of the Acoustical Society of America 86, S1 (November 1989): S55. http://dx.doi.org/10.1121/1.2027560.
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Nowoświat, Artur, and Marcelina Olechowska. "Experimental Validation of the Model of Reverberation Time Prediction in a Room." Buildings 12, no. 3 (March 13, 2022): 347. http://dx.doi.org/10.3390/buildings12030347.
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It is well known that the uncertainty of input data has a great influence on the accuracy of room acoustics simulations. The aforementioned accuracy is significantly influenced by the selection of the acoustic properties of room-delimiting materials. Moreover, simulation errors are attributed to the fact that rooms can be very irregular and sound diffusion can be uneven, and thus sound absorption can be unevenly distributed over the surfaces. Therefore, a very important element is the validation of the simulation model of interior acoustics, even when we use ready-made software dedicated to interior acoustics for the simulation. In the article, the reverberation room model simulated in the ODEON program was subjected to validation. The program is based on a hybrid method combining the ray and virtual source methods. For the validation, appropriate measurements of the reverberation time in that room were carried out. The validation was undertaken using the criterion of correct validation, consisting of comparing the value of the comparison error and the value of the validation uncertainty.
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Kawata, Makito, Mariko Tsuruta-Hamamura, and Hiroshi Hasegawa. "Influence of Test Room Acoustics on Non-Native Listeners’ Standardized Test Performance." Acoustics 5, no. 4 (December 11, 2023): 1161–79. http://dx.doi.org/10.3390/acoustics5040066.
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Understanding the impact of room acoustics on non-native listeners is crucial, particularly in standardized English as a foreign language (EFL) proficiency testing environments. This study aims to elucidate how acoustics influence test scores, considering variables overlooked in prior research such as seat position and baseline language proficiency. In this experiment, 42 Japanese university students’ performance on standardized EFL listening tests was assessed in two rooms with distinct acoustic qualities, as determined by the speech transmission index (STI) and reverberation time (RT). The rooms differed significantly in their STI values and RT measurements, with one exhibiting high speech intelligibility qualities of ≥0.66 STI and RT0.5–2kHz < 0.7 s and the other falling below these benchmarks. The findings revealed that listening test scores were consistently higher in the acoustically favorable room across all participants. Notably, the negative effect of poor acoustics was more pronounced for students with lower baseline language proficiency. No significant score differences were observed between front- and rear-seat positions, suggesting that overall room acoustics may be more influential than individual seating locations. The study concludes that acoustics play a significant role in the standardized EFL test performance, particularly for lower-proficiency learners. This highlights the necessity of standardized testing environments to be more carefully selected in order to ensure the fair and reliable assessment of language proficiency.
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Trubakoff, Jordan, Samuel Hord, Mike Dickerson, Robert Pearson, Francisco Irarrazabal, and Rachel Edelman. "Outdoor Concert Hotel Acoustics." INTER-NOISE and NOISE-CON Congress and Conference Proceedings 266, no. 1 (May 25, 2023): 1075–80. http://dx.doi.org/10.3397/nc_2023_0131.
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VAI Resort, situated across the street from the site of Super Bowl LVII, presents a number of acoustical challenges, not the least of which is a world-class, 360-degree outdoor performance venue. Performers will blast an 8-storey hotel located 250 ft away with music of all types, which audiences will enjoy from the balconies of their hotel rooms. The challenge of modeling such a venue comes in simplifying it down to manageable pieces. Does a balcony with a hotel room behind it behave like a Helmholtz resonator? How do the acoustics change if 90% of the balconies are open to the hotel rooms beyond? What if 50% are open? 25% are open? Such a variable acoustic space presents a significant modeling challenge. A methodology for tackling such a large-scale project is presented, with modeling results, auralizations, and comparisons to real-world measurements. Findings include a swing in RT60 of more than 25% when all balcony doors are opened versus closed.
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Jeong, D. U., and F. R. Fricke. "A Preliminary Investigation of the Perceived Smallest Sound Duration Change in a Room." Building Acoustics 4, no. 3 (September 1997): 197–209. http://dx.doi.org/10.1177/1351010x9700400303.
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The present work aims at producing a test, similar to a speech intelligibility test, which can be used to rate the acoustic quality of rooms for music. Listeners' perceptions of the duration of sounds were investigated in an attempt to find a useful indicator of the acoustics of a room for music and speech. The research design was based on a discrimination task and a 2AFC experimental procedure. Two experiments were carried out in which two acoustic variables, reverberation time and background noise level, were varied and listeners' smallest perceivable sound duration changes were measured. It was found that the listeners' duration perceptions were significantly influenced by the reverberation time and background noise level of the listening environment, and that these discrimination procedures may form the basis for room acoustics assessments.
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Postma, Barteld N. J., Evan Green, Eckhard Kahle, and Brian F. G. Katz. "Pre-Sabine Room Acoustic Guidelines on Audience Rake, Stage Acoustics, and Dimension Ratios." Acoustics 3, no. 2 (March 24, 2021): 235–51. http://dx.doi.org/10.3390/acoustics3020017.
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Prior to Sabine’s work on the Fogg Art Museum and Boston Symphony Hall, several numerical guidelines had been developed and applied to the design of rooms with specific acoustic demands such as theatres, concert halls, and opera houses. Previous papers have discussed guidelines based on the following principles: voice directivity, which was employed in the design of at least 11 rooms; “echo theory”, which quantifies the perception threshold between direct sound and first order reflections in order to prevent echoes from occurring, aiding in the design of at least 7 rooms and leading to the first known use of an acoustic scale model; and notions of reverberation, which influenced the design of at least 14 rooms. This paper discusses three additional pre-Sabine numerical guidelines that were used in room acoustic design: (1) audience rake, (2) stage acoustics and proscenium design, and (3) length, width, and height ratios. The origin of these theories, as well as examples of rooms in which they were applied, are discussed and compared to current practices in room acoustic design.
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Okuzono, Takeshi, M. Shadi Mohamed, and Kimihiro Sakagami. "Potential of Room Acoustic Solver with Plane-Wave Enriched Finite Element Method." Applied Sciences 10, no. 6 (March 13, 2020): 1969. http://dx.doi.org/10.3390/app10061969.
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Predicting room acoustics using wave-based numerical methods has attracted great attention in recent years. Nevertheless, wave-based predictions are generally computationally expensive for room acoustics simulations because of the large dimensions of architectural spaces, the wide audible frequency ranges, the complex boundary conditions, and inherent error properties of numerical methods. Therefore, development of an efficient wave-based room acoustic solver with smaller computational resources is extremely important for practical applications. This paper describes a preliminary study aimed at that development. We discuss the potential of the Partition of Unity Finite Element Method (PUFEM) as a room acoustic solver through the examination with 2D real-scale room acoustic problems. Low-order finite elements enriched by plane waves propagating in various directions are used herein. We examine the PUFEM performance against a standard FEM via two-room acoustic problems in a single room and a coupled room, respectively, including frequency-dependent complex impedance boundaries of Helmholtz resonator type sound absorbers and porous sound absorbers. Results demonstrated that the PUFEM can predict wideband frequency responses accurately under a single coarse mesh with much fewer degrees of freedom than the standard FEM. The reduction reaches O ( 10 − 2 ) at least, suggesting great potential of PUFEM for use as an efficient room acoustic solver.
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Ellison, Steve, and Roger Schwenke. "Integrating spatial audio and active acoustics systems." Journal of the Acoustical Society of America 154, no. 4_supplement (October 1, 2023): A169. http://dx.doi.org/10.1121/10.0023161.
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Rooms incorporating Spatial Audio and Active Acoustic systems are being built that facilitate immersive audience experiences of unprecedented musical performances. Composers are writing new pieces, and new versions of existing works are being produced to take advantage of these technologies. Spatial Audio enables pre-recorded, synthesized, and live reinforced sounds to arrive at the listener from any direction and allows the listener to move around in the space and explore the sonic experience. Active Acoustics provides early reflections and reverberance for the performers and audience throughout the room and can be adjusted for each composition. The physical acoustical design of the space needs to provide an appropriate nominal acoustic for both systems and accommodate performance audio that does not come from a fixed position and orientation to listeners who may not be in a fixed location and orientation. Both systems incorporate distributed loudspeakers that are typically integrated into the architecture yet have different electroacoustic objectives. How do these systems coexist? Installation examples that use Spacemap, a multichannel panner that originated in Australia, and Constellation, an Active Acoustics System that uses VRAS technology developed in New Zealand, illustrate design considerations when integrating these systems.
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Yoshida, Takumi, Yasutaka Ueda, Norimasa Mori, and Yumi Matano. "An experimental study on acoustical performance of cross rib diffuser." INTER-NOISE and NOISE-CON Congress and Conference Proceedings 263, no. 2 (August 1, 2021): 4538–45. http://dx.doi.org/10.3397/in-2021-2731.
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The preset paper proposes a novel acoustic diffuser which we call cross rib diffuser (CRD) and investigates its acoustical performance in rooms experimentally. CRD consists of overlapping two one-dimensional periodic rib diffuser (OPRD) with different structural configurations. CRD can achieve high scattering coefficient with wider frequency band than OPRD. Moreover, unlike other diffusers with high scattering property such as metadiffuser and two-dimensional quadratic diffuser, CRD keeps simple and familiar design of OPRD suitable for use in various architectural spaces. In the paper, we firstly evaluated random-incidence scattering coefficient of CRD using 1/5 scaled reverberation room. Then, random-incidence absorption coefficient was measured in 1/1 reverberation room. Finally, an implementation experiment was conducted to examine applicability of CRD in improving acoustics in small meeting room with small absorption treatments. The results indicated that CRD reduced EDT and reverberation time, and increased D50 more than JND values. Additionally, CRD improved reverberation and speech intelligibility more significantly than OPRD with same installation area.
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D'Antonio, Peter, and Rinaldi P. Petrolli. "Non-cuboid Iterative room optimizer." Journal of the Acoustical Society of America 151, no. 4 (April 2022): A144. http://dx.doi.org/10.1121/10.0010915.
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In past years, various iterative optimization programs emerged to separately determine the optimal room ratios, sources and listening positions of perfectly reflective cuboid rooms, using the image-source model. Despite its fast computation times, this approach does not account for scattering, phase change at the boundary and cannot be extended to non-cuboid rooms. This presentation describes the current status of a program called NIRO, that offers a solution to those issues, by using the Boundary Element Method (BEM) to compute the frequency response from 20–200 Hz, considering the effects of the boundary’s complex admittance and all acoustical elements inside the room. With BEM as its engine, a room optimization genetic algorithm was developed to optimize source and receiver positions simultaneously with the room geometry, aiming to present the best possible acoustic environment given imposed restraints. To control the room's temporal decay, low-frequency acoustic treatments were added to the BEM model. By using transfer matrix models, the acoustical behavior of different multilayered treatments can be modeled and inserted into the BEM simulation to evaluate the change in the room’s acoustic field and in the frequency response at the receiving positions. 3D waterfall plots illustrate the temporal decay following optimization. Examples will be presented.
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Pätynen, Jukka, and Tapio Lokki. "Evaluation of Concert Hall Auralization with Virtual Symphony Orchestra." Building Acoustics 18, no. 3-4 (December 2011): 349–66. http://dx.doi.org/10.1260/1351-010x.18.3-4.349.
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Authenticity of the simulation of room acoustics is evaluated by comparing auralizations with real recordings. Impulse responses are recorded in two concert halls with 34 loudspeakers positioned on the stage in the shape of an orchestra and a 3D microphone probe for spatial reproduction. The acoustics of the same concert halls are simulated with acoustics modeling software. B-format impulse responses are calculated by using the identical source and receiver positions as in the real halls. Additionally, two processing methods are applied to the simulated responses in order to decrease the difference in acoustical impression. Objective room acoustic parameters between the real and simulated halls are compared, and a listening test utilizing convolutions with anechoic orchestral music is organized. The results suggest that the subjects can be categorized in two groups having preference of brightness or naturalness. Depending on the music style, auralizations with processed responses are assessed equal or better than the real hall in terms of instrument balance and brightness.
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T., Pazara. "Sound propagation modelling in a lecture hall." Scientific Bulletin of Naval Academy XXII, no. 2 (December 15, 2019): 276–83. http://dx.doi.org/10.21279/1454-864x-19-i2-033.
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For lecture halls, intelligibility of speech is the most important aspect. To achieve a relative uniform distribution of sound among the listeners, a number of parameters must be taken into account. One method to speed up the design process of a lecture hall is to model the sound propagation in that room using computer acoustic software. In this paper, the authors have chosen a lecture hall from Naval Academy and made numerous simulations to discover what are the week points regarding the acoustics of this room. The acoustical parameters obtained from simulations are compared with the desired ones and a few remarks for the improvement of the room are made.
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Oyekola, Peter, William Rogers, James Fedorka, Nathaniel Colemon, Nathan Woodard, Mehedi Al-Barkat, and Mohan Rao. "Evaluation and optimization of acoustics of a multipurpose room to improve speech intelligibility." INTER-NOISE and NOISE-CON Congress and Conference Proceedings 264, no. 1 (June 24, 2022): 695–704. http://dx.doi.org/10.3397/nc-2022-800.
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The work presented in this paper was conducted as part of a student project in a senior course on Noise Control at Tennessee Tech. The project involved improving the acoustics of the multipurpose room in the university student center. There were repeated concerns regarding the poor acoustics conditions related with speech and intelligibility caused by excessive reverberations in the room. In order to solve this issue, an examination of the complete sound field in the room including reverberation time have been investigated with the aim of proposing solutions to improve the acoustics for future use. The evaluation of the room was done with both software simulation and experimental data obtained from on-site visit measurements. A comparison between the simulated and experimental data is presented and served as the basics for the analytical solutions necessary for acoustic optimization. Furthermore, renderings of possible mounting locations of acoustic panels with their specification have been provided based on the commercially available panels and cost consideration.
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Borkowski, Bartłomiej, and Marek Pluta. "Automated Measurement System for Room Acoustics – an Initial Feasibility Study." Archives of Acoustics 40, no. 3 (September 1, 2015): 419–28. http://dx.doi.org/10.1515/aoa-2015-0043.
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AbstractCurrently used procedures in room acoustics measurements are not automated. Particularly in medium-sized and large areas they require a lot of time and intensive labour which directly translates into an increase in the measurement cost. Introduction of an automated system would increase efficiency of the measurements, and therefore could present both practical and scientific benefit. The paper presents initial feasibility study for designing a system that permits the measurement of selected acoustic parameters for any choice of three-dimensional grid of measurement points throughout the volume of the room. The system will utilize an autonomous probe attached to a blimp, and will be able to measure and analyze acoustic characteristics of the rooms. The article discusses the initial choices of the system elements, starting from the general idea, through the mechanical design and control procedures, the software that controls positioning and flying of the probe, up to the automation of the measurement procedure and its possible impact on the acoustic field.
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Wróbel, Jakub, and Damian Pietrusiak. "Noise Source Identification in Training Facilities and Gyms." Applied Sciences 12, no. 1 (December 22, 2021): 54. http://dx.doi.org/10.3390/app12010054.
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This paper deals with noise problems in industrial sites adapted for commercial training venues. The room acoustics of such an object were analyzed in the scope of the reverberation time and potential acoustic adaptation measures are indicated. Identification and classification of noise sources in training facilities and gyms was carried out based on the acoustic measurements. The influence of rubber padding on impact and noise reduction was investigated in the case of chosen noise-intensive exercise activities performed in a previously described acoustic environment. Potential noise reduction measures are proposed in the form of excitation reduction, vibration isolation, and room acoustics adaptation.
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Sakagami, Kimihiro, and Toshiki Hanyu. "Advances in Room Acoustics of Non-Performing Public Spaces." Applied Sciences 13, no. 1 (December 23, 2022): 188. http://dx.doi.org/10.3390/app13010188.
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Komínková, Kateřina, Michal Papranec, and Libor Šteffek. "Simulation of Different Acoustic Lecture Room Designs." Advanced Materials Research 899 (February 2014): 505–8. http://dx.doi.org/10.4028/www.scientific.net/amr.899.505.
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Room acoustics of the internal environment is among others an important part of good design. The paper deals with the simulation of lecture room acoustic structural modifications. In specific lecture room was measured reverberation time of the current state. Based on the results of the measurements several design variations of acoustic structures have been made to suit the room with a standard requirements for recitation. Subsequently, these measures were modeled and examined in the simulation program. The paper points to the importance of simulations in design of interior acoustic adjustments.
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Kuttruff, Heinrich, and Pascal Everton. "Room Acoustics, 5th Edition." Noise Control Engineering Journal 58, no. 4 (2010): 464. http://dx.doi.org/10.3397/1.3455049.
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Seike, Yukiko, Daisaku Miura, Takashi Ishizuka, Kanaya Kitajima, Ayame Kato, and Toru Miyajima. "Development of Room Acoustic Prediction and Evaluation Tools for Designers." INTER-NOISE and NOISE-CON Congress and Conference Proceedings 265, no. 6 (February 1, 2023): 1007–14. http://dx.doi.org/10.3397/in_2022_0142.
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We develop room acoustic prediction and evaluation tools for designers to be used in halls and conference areas where the design of acoustical performance is essential. The designers, with no specialized knowledge of acoustics, are able to examine the tools at an early stage of the project. The interface tool consists of the 3D CAD software-Rhinoceros, and its plug-in tool-Grasshopper. The designers first build a room model on Rhinoceros and locate the sound source and the receiver points in the model. They then set the calculation conditions via Grasshopper, such as room use and type of interior finishes. Next, room sound propagation is calculated using the ray tracing method in the external python programs. Then, acoustic indices, such as the average sound absorption coefficient and clarity, are predicted. These indices are automatically evaluated according to the room use, and the evaluated results are visualized in the room model on Rhinoceros. This paper outlines these tools and exhibits the agreement of predicted and measured indices in a small hall. These tools are applied to a lecture room with complicated ceiling ribs, and an office with a stairwell, which are difficult to examine by the conventional reverberation formula.
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Abbasi, Mustafa Z., Preston S. Wilson, and Ofodike A. Ezekoye. "Ray tracing and finite element modeling of sound propagation in a compartment fire." Journal of the Acoustical Society of America 151, no. 5 (May 2022): 3177–88. http://dx.doi.org/10.1121/10.0009800.
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A compartment fire (a fire in a room or building) creates temperature gradients and inhomogeneous time-varying temperature, density, and flow fields. This work compared experimental measurements of the room acoustic impulse/frequency response in a room with a fire to numerically modeled responses. The fire is modeled using a Fire Dynamics Simulator (FDS). Acoustic modeling was performed using the temperature field computed by FDS. Room acoustics were modeled using two-dimensional ray and finite element modeling. A three-dimensional model was used to simulate an open flame. COMSOLTM Multiphysics was used for finite element acoustic modeling and BELLHOPTM for ray trace acoustics modeling. The results show that the fire causes wave-fronts to arrive earlier (due to the higher sound speed) and with more variation in the delay times (due to the sound speed perturbations). The resonance frequencies of low-frequency modes were shifted upwards. Model results are compared with data and show good agreement in observed trends.
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Prasetya, Maria Christina. "Design of Simple Acoustic Materials for High School Hall Using Software CATT." Journal of Artificial Intelligence in Architecture 1, no. 1 (January 27, 2022): 10–19. http://dx.doi.org/10.24002/jarina.v1i1.4874.
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Good acoustic quality is essential to consider in designing a multipurpose room. Unfortunately, school halls usually have poor room acoustics. Lack of funds and lack of knowledge about acoustics cause the acoustic quality of the room to be very poor. The purpose of this research is to design a simple acoustic material application concept for a high school hall based on the Ministry of Education and Culture manual to meet the requirements for speech, music, and sports functions. Simple acoustic materials exist in everyday life, such as corrugated cardboard, cork, multiplex boards, newspapers, egg racks, and cloth. The research applied a simulation method using CATT v8 software. The parameters used to measure room acoustic quality were RT60, C-80, D-50, STI, EDT, and LF The simulation compared the hall's acoustic performance without and with the simple sound absorbers. The absorbers were applied to 39% of the walls and 55% ceilings. The absorbers reduced T-30 (500Hz) from 3.8 seconds to 1.5 seconds with an omni sound source and 1.3 seconds with speakers. The averaged Speech Transmission Index (STI) was improved from 38% to 60% with the omni sound source and from 43% to 65% with speakers.
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Poletti, M. A. "Active Acoustic Systems for the Control of Room Acoustics." Noise & Vibration Worldwide 44, no. 4 (April 2013): 10–26. http://dx.doi.org/10.1260/0957-4565.44.4.10.
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Poletti, M. A. "Active Acoustic Systems for the Control of Room Acoustics." Building Acoustics 18, no. 3-4 (December 2011): 237–58. http://dx.doi.org/10.1260/1351-010x.18.3-4.237.
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The acoustic design of auditoria involves the specification of the room geometry and boundary properties, and any additional acoustic elements such as reflectors or diffusers, to usefully direct sound to produce a desired subjective experience, quantified by measurable acoustic parameters. This design must take into account the reflection of sound within the stage area, the early reflections from the stage to the audience and the reverberant response of the room. The sound produced by the audience can also be an important consideration. Active acoustic systems provide an alternative approach to controlling subjective experience. They use microphones, electronic processors and loudspeakers to create reflections and reverberation in addition to those produced by the naturally-occurring sound field. The acoustic properties can be changed instantly, and the enhanced acoustic properties of the auditorium can typically be varied over a wider range than can be produced by variable passive techniques. The design of active acoustics follows that of passive approaches, but rather than the physical arrangement of the room surfaces, it commences with an existing passive space with some minimum acoustic condition, and requires the arrangement of microphones to detect relevant sound and the choice of processors and loudspeaker positions to direct it usefully back into the room to produce a desired set of acoustic parameters. While active systems have historically been developed with the goal of enhancing either the stage or audience sound, they must generally provide the same control of sound as passive acoustic design. This paper discusses the principles of active acoustic systems and how they are used to achieve the required range of control. A survey of current commercial systems is given and some implications for the future of live performance are explored.