15 research outputs found
Auralisations sérieuses
Over recent decades, auralizations have become more prevalent in architectural acoustics and virtual reality. Auralizations have numerous use-cases such as multi-modal virtual reality explorations, studies of the acoustical influence of renovations, and historic research. Despite their numerous use-cases, they rarely have been part of scientific studies. Therefore, the goal of this thesis was to examine the use of room acoustical auralizations based on geometrical acoustics (GA) as a scientific tool and aimed to aid in the creation of more ecologically valid historically accurate auralizations. Already in the 1930s first attempts were undertaken to render audible (imaginary) sound fields. Developments over the last 80 years have led to significant improvements of auralizations. Today, if one wishes to create auralizations, generally anechoic recording need to be convolved with either a measured or simulated room impulse response (RIR). GA software are often employed to numerically compute the RIR of complicated geometries. Wave-based methods are computationally intensive, requiring complex geometrical models and complex input data. This thesis aims to enhance the quality of fully computed auralizations. For this purpose the calibration of room acoustical models and the inclusion of dynamic voice directivity were studied. Room acoustical measurements were carried out in four rooms and geometrical acoustics models were created of the same spaces. A methodical calibration procedure was proposed, carried out in the four rooms, and first validated by means of parameter estimation comparison. Subjective listening tests which compared measured and simulated auralizations for three spaces found that the auralizations were equally perceived for 8 tested acoustical attributes. Subsequently, a framework was presented which enabled the inclusion of dynamic voice directivity. The results of listening tests indicated that perceptual differences between dynamic voice directivity and regular static source ordinations in plausibility and envelopment of the auralization as well as perceived width of the source. With the improved ecological validity of the auralizations it was possible to study the influence of visualizations on the acoustical experience, with a reasonable degree of confidence that perceived effects are also applicable in real-life situations. For this purpose, a framework was established which enabled multi-model assessments of theater plays and concerts. Results of a visual-aural coherent multi-modal listening test confirmed the perceptual differences between dynamic and static voice directivity auralizations. A second listening test employing this framework which compared incoherent to coherent aural-visual cues indicated that with increased visual source-receiver distance auralizations are perceived acoustically more distant and louder.Au cours des derniĂšres dĂ©cennies, la prĂ©sence des auralisations dans lâacoustique architecturale et la rĂ©alitĂ© virtuelle est devenue de plus en plus importante. De nombreuses applications en dĂ©coulent, telles que les explorations de la rĂ©alitĂ© virtuelle multimodale ou les Ă©tudes de lâinfluence acoustique des rĂ©novations et la recherche historique. MalgrĂ© ces nombreux cas dâutilisation, peu dâĂ©tudes scientifiques ont Ă©tĂ© rĂ©alisĂ©es sur le sujet. Lâobjectif de cette thĂšse Ă©tait donc dâexaminer lâutilisation dâauralisations acoustiques de salles, basĂ©es sur lâacoustique gĂ©omĂ©trique (GA) comme outil scientifique et visant Ă aider Ă la crĂ©ation dâauralisations historiquement exactes plus Ă©cologiquement valables. DĂ©jĂ dans les annĂ©es 1930 les premiĂšres tentatives ont Ă©tĂ© entreprises pour rendre audible (de maniĂšre imaginaire) les champs sonores. Les dĂ©veloppements au cours des 80 derniĂšres annĂ©es ont conduit Ă des amĂ©liorations significatives des auralisations. Aujourdâhui, si lâon veut crĂ©er des auralisations, lâenregistrement anĂ©choĂŻque rĂ©alisĂ© prĂ©alablement doit ĂȘtre convoluĂ© avec une rĂ©ponse impulsionnelle ambiante, mesurĂ©e ou simulĂ©e (RIR). Les logiciels GA sont souvent utilisĂ©s pour calculer numĂ©riquement la RIR de gĂ©omĂ©tries compliquĂ©es. Les mĂ©thodes basĂ©es sur les ondes sont gourmandes en calcul, nĂ©cessitant des modĂšles gĂ©omĂ©triques complexes et des donnĂ©es dâentrĂ©e complexes. Cette thĂšse vise Ă amĂ©liorer la qualitĂ© des auralisations entiĂšrement calculĂ©es. Ă cette fin, on a Ă©tudiĂ© lâĂ©talonnage des modĂšles acoustiques des salles et lâinclusion de la directivitĂ© vocale dynamique. Des mesures acoustiques de la piĂšce ont Ă©tĂ© rĂ©alisĂ©es dans quatre salles et des modĂšles dâacoustique gĂ©omĂ©trique ont Ă©tĂ© crĂ©Ă©s des mĂȘmes espaces. Une procĂ©dure mĂ©thodique de calibration du modĂšle a Ă©tĂ© proposĂ©e, rĂ©alisĂ©e dans les quatre salles, et validĂ©e au prĂ©alable par comparaison dâestimation de paramĂštres. Des tests dâĂ©coute subjectifs comparant des auralisations mesurĂ©e set simulĂ©es pour trois espaces diffĂ©rents ont rĂ©vĂ©lĂ© que les auralisations Ă©taient Ă©galement perçues pour huit attributs acoustiques Ă©valuĂ©s. Par la suite, un cadre permettant dâinclure la directivitĂ© vocale dynamique a Ă©tĂ© prĂ©sentĂ©. Les rĂ©sultats des tests dâĂ©coute ont montrĂ© des diffĂ©rences perceptuelles entre la directivitĂ© vocale dynamique et la directivitĂ© de source statique pour la plausibilitĂ©, lâenveloppement de lâauralisation ainsi que la largeur perçue de la source. LâamĂ©lioration de la validitĂ© Ă©cologique des auralisations a permis dâĂ©tudier lâinfluence des visualisations sur lâexpĂ©rience acoustique, avec un degrĂ© de confiance raisonnable que les effets perçus sont Ă©galement applicables dans des situations rĂ©elles. Ă cet effet, un cadre a Ă©tĂ© Ă©tabli qui a permis des Ă©valuations multimodales de piĂšces de thĂ©Ăątre et de concerts. Les rĂ©sultats dâun test dâĂ©coute multi-modal prĂ©sentant une scĂšne cohĂ©rente visuelle-sonore ont confirmĂ© les diffĂ©rences perceptuelles entre les auralisations de directivitĂ© vocale dynamique et statique. Dans ce mĂȘme cadre, un second test dâĂ©coute comparant des scĂšnes visuelles/sonores incohĂ©rentes Ăš cohĂ©rentes, indiquait quâavec une distance source-rĂ©cepteur accrue, les auralisations sont perçues acoustiquement plus Ă©loignĂ©es et plus Ă©levĂ©e
Perceptive and objective evaluation of calibrated room acoustic simulation auralizations
International audienc
Correction method for averaging slowly time-variant room impulse response measurements
International audienc
The influence of visual distance on the room-acoustic experience of auralizations
International audienc
Influence of visual rendering on the acoustic judgements of a theater auralization
International audienc
Creation and calibration method of acoustical models for historic virtual reality auralizations
International audienc
Subjective Evaluation of Dynamic Voice Directivity for Auralizations
International audienc
An archeoacoustic study of the history of the Palais du Trocadero (1878â1937)
International audienc
An archaeoacoustic study on shape: the case study of the Iffland Theatreâs history (1802â1817)
Previous studies have discussed six pre-Sabine quantifiable guidelines employed in room acoustic design: voice directivity, audience rake, âecho theoryâ, 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 (1802â1817). 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 hallâs 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
Pre-Sabine room acoustic design guidelines based on human voice directivity
International audienc