Interpolation and range extrapolation of sound source directivity based on a spherical wave propagation model

Approaches for incorporating sound source directivity into wave-based room acoustic simulations using a spherical harmonic representation have been presented recently. Normally, the directivity is measured or prescribed on a spherical surface centered at the nominal source position. In wave-based simulations, this directivity can be represented through a locally-defined driving term acting at the source location. In practice, the directivity of real-world sound sources like musical instruments or industrial machinery can only be measured approximately in terms of spatial resolution and accuracy. We show that the measurement data can be augmented such that the impairments due to the limitations of the measurement accuracy are mitigated. We revisit the previously proposed approach of only using the angle-dependent magnitude of the measured directivity together with a spherical-wave propagation model and demonstrate its potential by means of numerical simulations based on two case studies

A virtual symphony orchestra for studies on concert hall acoustics

Traditionally, concert hall acoustics is evaluated by listening to live concerts, which makes a direct comparison challenging. This thesis presents new tools and methods in the domain of the room acoustics evaluation, studies, and auralization. Auralization stands for the process of rendering an existing or modeled acoustic space in a way that it can be presented to the listener as he/she was listening to a sound inside the space under study. An essential topic in this thesis is a framework for studying room acoustics with a wide-area loudspeaker array. The proposed loudspeaker orchestra consists of a number of loudspeakers that are positioned in the shape resembling a symphony orchestra on a stage. The acoustics can be evaluated in-situ by playing back anechoic signals, or in laboratory conditions via convolution of the impulse responses measured from the loudspeaker orchestra. The presented method enables a direct comparison of concert halls and it has been successfully applied in practice in several research articles. The principal requirement for such a loudspeaker orchestra is anechoic signals of high quality. For this purpose, a method and implementation of a system for recording the symphony orchestra instruments individually is presented. As the result, a selection of anechoic orchestral music is obtained with perfect channel separation. The recordings, intended for advancing the research on acoustics and auralization, are published for academic use. Directivity of the orchestra instruments in performance situation is investigated with anechoic measurements. The results for different instruments can be compared against each other or applied directly into auralizations. Data from the directivity measurements is also applied in the objective analysis of the presented loudspeaker orchestra. Furthermore, the implemented measurement system is utilized in investigating the sound radiation of the balloons, which are often used in room acoustic measurements. Related to the anechoic recordings, a novel approach to creating an impression of a group of musicians from a single recorded player is proposed. The method is mainly based on the video and audio analysis of the temporal differences between orchestra string players. The method is particularly beneficial with the anechoic recordings, where recording an instrument section is not possible, and recording a large number of musicians individually is time-consuming. The listening test results show that the presented method provides a plausible simulation of an instrument section sound in comparison to an industry-standard method

The acoustics of concentric sources and receivers – human voice and hearing applications

One of the most common ways in which we experience environments acoustically is by listening to the reflections of our own voice in a space. By listening to our own voice we adjust its characteristics to suit the task and audience. This is of particular importance in critical voice tasks such as actors or singers on a stage with no additional electroacoustic or other amplification (e.g. in ear monitors, loudspeakers, etc.). Despite the usualness of this situation, there are very few acoustic measurements aimed to quantify it and even fewer that address the problem of having a source and receiver that are very closely located. The aim of this thesis is to introduce new measurement transducers and methods that quantify correctly this situation. This is achieved by analysing the characteristics of the human as a source, a receiver and their interaction in close proximity when placed in acoustical environments. The characteristics of the human voice and human ear are analysed in this thesis in a similar manner as a loudspeaker or microphone would be analysed. This provides the basis for further analysis by making them analogous to measurement transducers. These results are then used to explore the consequences of having a source and receiver very closely located using acoustic room simulation. Different techniques for processing data using directional transducers in real rooms are introduced. The majority of the data used in this thesis was obtained in rooms used for performance. The final chapters of this thesis include details of the design and construction of a concentric directional transducer, where an array of microphones and loudspeakers occupy the same structure. Finally, sample measurements with this transducer are presented

Assessment of a hybrid numerical approach to estimate sound wave propagation in an enclosure and application of auralizations to evaluate acoustical conditions of a classroom to establish the impact of acoustic variables on cognitive processes

In this research, the concept of auralization is explored taking into account a hybrid numerical approach to establish good options for calculating sound wave propagation and the application of virtual sound environments to evaluate acoustical conditions of a classroom, in order to determine the impact of acoustic variables on cognitive processes. The hybrid approach considers the combination of well-established Geometrical Acoustic (GA) techniques and the Finite Element Method (FEM), contemplating for the latter the definition of a real valued impedance boundary condition related to absorption coefficients available in GA databases. The realised virtual sound environments are verified against real environment measurements by means of objective and subjective methods. The former is based on acoustic measurements according to international standards, in order to evaluate the numerical approaches used with established acoustic indicators to assess sound propagation in rooms. The latter comprises a subjective test comparing the virtual auralizations to the reference ones, which are obtained by means of binaural impulse response measurements. The first application of the auralizations contemplates an intelligibility and listening difficulty subjective test, considering different acoustic conditions of reverberation time and background noise levels. The second application studies the impact of acoustic variables on the cognitive processes of attention, memory and executive function, by means of psychological tests

The effect of early reflection distribution on perceived stage acoustic conditions

It is widely accepted that performing musicians adjust their technique according to the acoustic conditions they hear on stage. It is likely that a musician performing in favourable acoustic conditions will give a higher quality performance. However, preferred conditions for performers are comparatively less well understood than for audience members. This presents a significant challenge when attempting to design a successful auditorium. Stage acoustic conditions are commonly assessed in terms of the overall energy of early reflections, relative to the direct sound, and reverberation time. These parameters relate to two subjective attributes of high importance to performers. However, these parameters are independent of the spatial or temporal distribution of the reflected energy which, in auditorium acoustics, are known to influence the perception of sound. It is proposed that a similar effect is observed for soloist performers and that these aspects of the soundfield will influence the perceived quality of the acoustic conditions. This research aims to observe how the spatial and temporal distribution of early reflections varies for differing stage enclosures and to determine if these factors influence a soloist’s impression of the stage acoustics. A detailed acoustic survey of eight concert hall stages has been undertaken to characterise how the spatio-temporal distribution of early energy varies under different circumstances. This includes musician related aspects such as position on stage and orientation in addition to venue related features, such as the geometry of the stage enclosure. Spatial soundfield measurement and analysis techniques are developed to enable the spatial and temporal characteristics of early reflections to be observed. A set of objective parameters are developed to formally characterise these observations. An interactive listening test allows experienced musicians to compare a series of virtual stage enclosures by playing their instrument. Test subjects rate each hall in terms of preference and in relation to specific subjective attributes. The listening test uses a real-time auralisation system to render the acoustic conditions of a concert hall, in controlled laboratory conditions. This auralisation is based on Spatial Impulse Response Rendering (SIRR) to accurately render stage acoustic conditions over a loudspeaker array. This research proposes new methods of measuring and assessing stage acoustic conditions which will aid in the design of future auditoria. In addition, this research demonstrates the use of more recent spatial audio techniques in stage acoustic laboratory experiments

Audio for Virtual, Augmented and Mixed Realities: Proceedings of ICSA 2019 ; 5th International Conference on Spatial Audio ; September 26th to 28th, 2019, Ilmenau, Germany

The ICSA 2019 focuses on a multidisciplinary bringing together of developers, scientists, users, and content creators of and for spatial audio systems and services. A special focus is on audio for so-called virtual, augmented, and mixed realities. The fields of ICSA 2019 are: - Development and scientific investigation of technical systems and services for spatial audio recording, processing and reproduction / - Creation of content for reproduction via spatial audio systems and services / - Use and application of spatial audio systems and content presentation services / - Media impact of content and spatial audio systems and services from the point of view of media science. The ICSA 2019 is organized by VDT and TU Ilmenau with support of Fraunhofer Institute for Digital Media Technology IDMT

Proceedings of the EAA Joint Symposium on Auralization and Ambisonics 2014

In consideration of the remarkable intensity of research in the field of Virtual Acoustics, including different areas such as sound field analysis and synthesis, spatial audio technologies, and room acoustical modeling and auralization, it seemed about time to organize a second international symposium following the model of the first EAA Auralization Symposium initiated in 2009 by the acoustics group of the former Helsinki University of Technology (now Aalto University). Additionally, research communities which are focused on different approaches to sound field synthesis such as Ambisonics or Wave Field Synthesis have, in the meantime, moved closer together by using increasingly consistent theoretical frameworks. Finally, the quality of virtual acoustic environments is often considered as a result of all processing stages mentioned above, increasing the need for discussions on consistent strategies for evaluation. Thus, it seemed appropriate to integrate two of the most relevant communities, i.e. to combine the 2nd International Auralization Symposium with the 5th International Symposium on Ambisonics and Spherical Acoustics. The Symposia on Ambisonics, initiated in 2009 by the Institute of Electronic Music and Acoustics of the University of Music and Performing Arts in Graz, were traditionally dedicated to problems of spherical sound field analysis and re-synthesis, strategies for the exchange of ambisonics-encoded audio material, and – more than other conferences in this area – the artistic application of spatial audio systems. This publication contains the official conference proceedings. It includes 29 manuscripts which have passed a 3-stage peer-review with a board of about 70 international reviewers involved in the process. Each contribution has already been published individually with a unique DOI on the DepositOnce digital repository of TU Berlin. Some conference contributions have been recommended for resubmission to Acta Acustica united with Acustica, to possibly appear in a Special Issue on Virtual Acoustics in late 2014. These are not published in this collection.European Acoustics Associatio