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![1 Overview of concepts related to subjective room acoustics (after [9.1])](profile/Anders-Gade-3/publication/234546709/figure/fig1/AS:11431281079776029@1660851939016/Overview-of-concepts-related-to-subjective-room-acoustics-after-91.png)
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![Fig. 9.5 The definition of reverberation time (after [9.4])](profile/Anders-Gade-3/publication/234546709/figure/fig3/AS:11431281079785460@1660851939067/The-definition-of-reverberation-time-after-94_Q320.jpg)
This chapter deals specifically with concepts, tools, and architectural
variables of importance when designing auditoria for speech and music.
The focus will be on cultivating the useful components of the sound in
the room rather than on avoiding noise from outside or from
installations, which is dealt with in Chap. 11. The chapter starts by
presen...
Contexts in source publication
Context 1
... practical measurements of the distribution of G values, it is also clear that the assumption of an even distribution of the energy density is not met in large auditoria. Contrary to the Sabine theory, which predicts a constant level beyond the reverberation distance ( Fig. 11.6), we observe that the level continues to decrease with distance from the source -even far beyond the reverberation distance, where the contribution of the direct sound is negligible. An example of this is seen in Fig. 9.13. (Based on empirical data, simple equations predicting this attenuation of G with distance as a function of room ...
Context 2
... average distance is the main reason for the frequent use of the fan shape (III and IV in Fig. 9.19), although the directivity of sound sources (like the human voice) as well as the quality of lines of sight sets limits on the opening angle of the ...
Context 3
... primary requirement to achieve diffusion is that the profile depth of the relief is comparable with a quarter of the wavelength and the linear extension of the diffusing element (before it is eventually repeated) is Fig. 9.41 Diffusion treatment by means of wooden sticks screwed on an otherwise plane, wooden wall surface comparable with the wavelength at the lowest frequency of interest to be diffused. Given this, many different solutions can be imagined such as soft, curved forms cast in plaster, broken stone surfaces, wooden sticks, irregular brick walls ...
Context 4
... the loudspeaker is placed in a room, the sound field close to the loudspeaker will be dominated by the direct sound, whereas at longer distances, this component is negligible compared to the (diffuse) reverberant sound, as illustrated in Fig. 11.6. The (squared) sound pressure as a function of distance from the source in a room can be written as follows: In (9.38) the first term in the parenthesis is the direct sound component and the second one, 4/A, the diffuse, reverberant component, P SP is the emitted sound power, Q SP is the Q factor of the loudspeaker, and A is the ...
Citations
... According to the last column of Table 3, the single-number parameters in this bullring present values for each parameter that lie within the typical range indicated in ISO 3382-1 for non-occupied concert and multi-purpose halls of up to 25,000 m 3 : T 30m 1.98 s, Gade [56] recommends 2-2.4 s for a ratio of 25,000 m 3 /2000 seats for symphony music, (compared to Roman theaters, whereby Carthago Nova theater has 1.86 s and Saguntum theater has 2.23 s, both in Spain [49], while Aspendus theater in Turkey [57] has 1.70 s); EDT m 1.73 s, typical range 1-3 s; C 80m 3.5 dB, typical range −5 dB to +5 dB (compared to Roman theaters, whereby Carthago Nova theater has 8.9 dB and Saguntum theater 1.33 dB, both of which are in Spain [49]); D 50m 0.56, typical range 0.3-0.7 (compared to Roman theaters whereby Carthago Nova theater has 0.80, Saguntum theater 0.49, both of which are in Spain [49], while Aspendus theater in Turkey [57] has 0.70); J LFm 0.17, typical range 0.05-0.35 and within the range recommended by Gade; L J energy average −5.9 dB, typical range −14 dB to +1 dB; G mid −0.34 dB, whose typical range is −2 dB to +10 dB. ...
The bullring of Ronda, one of the oldest in Spain, declared in 1993 as an Asset of Cultural Interest, occupies a paramount place among the buildings of its type thanks to its outstanding beauty. Its configuration as an open-air enclosure with a circular floor plan, as an evocation of the ancient Roman amphitheaters, and its interior with galleries on two levels that house the audience play a fundamental role in the acoustic energy decay and diffusion of the space. The link between architecture and acoustics of the Ronda bullring has been carried out by using on-site measurements and simulation techniques. To this end, an acoustic model is created, which is adjusted by taking the set of 3D impulse responses recorded on-site. The presence of the public and the various sound sources that exist during the bullfight itself are analyzed in the simulations, whereby the conditions of occupation and vacancy are compared, as are the variations due to the location of the sources. Finally, speech intelligibility conditions are simulated with a human directivity source. The precision of the virtual acoustic model enables the sound architecture of this singular space to be ascertained and preserved, thereby incorporating sound as an associated intangible heritage.
... The most adopted standard term used to describe acoustical design is reverberation time. Nonetheless, it is important to notice that, apart from reverberation time, the parameters may show large differences between different seats, both objectively and subjectively (GADE, 2007). There are ranges of values for other descriptors in the literature that are not applied in classrooms because there are no specific research on them. ...
When the understanding of the spoken message is crucial, just some of the several of the acoustic descriptors used to evaluate the acoustic quality of rooms tend to attract more attention. The usage of curtains in Brazilian schools is a low-cost method typically used for solar protection, although their use might correct the values of the acoustic descriptors by getting these parameters within acceptable ranges. The spatial distribution of the definition (D50) parameter in classrooms with open and closed curtains is the main topic of this paper. Computer simulation was used to estimate the sound behavior. Reverberation time measured in the rooms was used to adjust the simulated classroom models. Two closed window arrangements, with open and closed curtains, were studied for the classrooms. In this study, the effect of opening the curtain was variable depending on the frequency, but for all the cases, higher values of D50 were obtained with the closing of the curtains. Since D50 is a parameter that can be modified by using sound absorption, the designers can make interventions to improve the homogeneity of the parameter spatial distribution.
... The interest in performance venues for the enjoyment of live orchestral music, opera or theater has prompted extensive scientific research on the architectural design of auditoria and on the objective characterization and perceptual evaluation of their room acoustical quality (e.g. [36]- [39]). Following the distinction proposed in [36], one can differentiate several domains for describing the effect of room reverberation in the context of music listening, recording or production ( Fig. 4): ...
... [36]- [39]). Following the distinction proposed in [36], one can differentiate several domains for describing the effect of room reverberation in the context of music listening, recording or production ( Fig. 4): ...
... Research on the objective characterization of the acoustics of performance spaces has led to the definition and standardization of a set of objective parameters widely adopted by acousticians, including (see e.g. [36], [40]- [43]): Reverberation decay time (Rt), Early decay time (Edt), Early-to-late energy ratio (C50, C80), Strength (G), Lateral energy fraction (LF), and Interaural cross-correlation coefficient (IACC). ...
... Bu salonlar düz zemin ve tavan yüzeylerine sahip olup, orkestra platformlu dar bir dikdörtgen biçiminde tasarlanmışlardır. Dikdörtgen biçiminde inşa edilen en ünlü salon yapısı ise 1870'li yıllarda Viyana'da inşa edilen the Musikvereinssaal'dür (Gade, 2007). 20. ...
... 1960-1970'li yıllarda üzüm bağı formlu salonların tasarımları etkinleşmeye başlamıştır. Klasik ayakkabı kutusu formlu salonda çok sayıda dinleyicinin yer alması dinleyicilerin sahneden çok uzaklaşmasına neden olduğundan, üzüm bağı form ile seyirciler sahneye yakın tutularak daha samimi bir ortam oluşması sağlanmıştır (Gade, 2007). Bu samimi ortamın sağlanması sahneye yakın olan duvarlardan yansıyan seslerin seyirci alanına kısa sürede ulaşması ile gerçekleşmiştir. ...
Tiyatro sanatının sergilendiği ve mimari bağlamda tarihi süreçteki gelişim ile şekillenen salonları kapsayan yapılar; insanları kültür ve sanat çerçevesinde bir araya toplayan, kentin önemli ve simgesel değerleridir. Bu bağlamda konser yapıları kentsel kimlik açısından kentlerin ayrılmaz bir parçasıdır. Konser salonları ise kapasiteleri ve akustik gereksinimleri doğrultusunda formları şekillenen mekanlar olarak konser yapılarının kalbini oluşturmaktadır. Bu çalışma kapsamında, farklı coğrafyalarda aynı dönemde tasarlanmış olan iki konser yapısı, salonları ile analiz edilmektedir. Bunlardan birincisi, antik dönemden itibaren profesyonel tiyatro yapılarının uygulandığı Avrupa kıtasındaki İsviçre’de yer alan Luzern Kongre ve Kültür Merkezi’dir. İkincisi ise, felsefi ve modern-geleneksel bir mimari üsluba sahip Asya kıtasındaki Japonya’da yer alan Tokyo Opera City’dir. Her iki yapı da mimari bağlamda analiz edilmiş, mekanların ve salonların fiziksel özelliklerinin yanı sıra seyirci kapasiteleri esas alınarak alan ve hacim analizleri gerçekleştirilmiştir. Çalışma sonucunda iki yapının da bulundukları çevrede merkezi bir konuma ve simgesel bir değere sahip olduğu; kapsamlarında bulunan salonların ise, kişi başına düşen alan ve hacim oranlarının benzer olduğu sonucu elde edilmiştir. Bunun yanı sıra farklı pasif akustik elemanların, farklı malzeme ve iç mekân tasarımları ile benzer akustik performansı sağlayabileceği ve farklı coğrafi ve kültürel özelliklerin aynı dönem yapılarında tercih edilen tasarımlara yansıyabileceği görülmüştür.
... As mentioned before, the Spatial Room Impulse Response (SRIR) measures were primarily needed in order to process auralizations (see section 3.2). But they were also used to compute acoustic indicators [21], [24], [25], [26], listed hereafter. Acoustic indicators are a set of quantitative values that are used to characterise and differentiate spaces, roughly said on three aspects (time-related indicators such as Reverberation time, tonerelated indicators such as Bass Ratio, and space-related indicators such as Lateral Strength). ...
This paper reports on an interdisciplinary data acquisition and processing chain, the novelty of which is primarily to be found in a close integration of acoustic and spatial data. It provides a detailed description of the technological and methodological choices that were made in order to adapt to the particularities of the corpus studied (interiors of small scale rural architectural artefacts) keeping in mind the backbone objective of the research: facilitate comparisons (among buildings, among spatial and acoustic features). The research outputs pave the way for proportion-as-ratios analyses, as well as for the study of perceptual aspects from an acoustic point of view. Ultimately, “perceptual” acoustic data characterised by acoustic descriptors will be related to “objective” spatial data such as architectural metrics. The experiment is carried out on a set of fifteen “small-scale” rural chapels, which is a corpus intended at fostering cross-examinations in the context of an architectural programme acting as a constant. The specificity of this corpus, in terms of architectural layout, usage, and economic or access constraints, will be shown to have had a significant impact on choices made during the acquisition and processing chains.
... This parameter is to a large extent a property complementary to reverberation. The more the early sound dominates, the higher the impression of clarity (Gade, 2007). Clarity is defined as the ratio of early to late arriving sound, with the distinction for speech made at 50 ms between early and late (Harvie-Clark et al., 2014). ...
Purpose
Disagreement between the designer and the audience causes creation of acoustically uncomfortable spaces, eventually these disagreements cause financial loss. To describe a phenomenon with the same modifier is the key to settle the conflict. It is very important to reveal acoustic conditions and it is necessary to use a common terminology for this purpose. To this end subjective evaluation studies are frequently used, especially in terms of room acoustics. To define sound via adjective and adjective pairs is a method used in determining architectural acoustic conditions in halls, mostly used for music-function halls but subjective evaluation studies are not common for speech-function halls. Turkish adjectives for speech sound that determine audience preferences are missing. Adjectives obtained from translations of different languages do not show the same descriptive effect in a specific language. Therefore, it is important to identify adjectives that define sound for each language.
Design/Methodology/Approach
In order to determine the Turkish adjectives that define the speech sound, which are absent from the literature, a two-step survey was performed. Sets of modifiers associated with acoustics parameters -reverberation, clarity and loudness- were prepared, that include direct translations from common English modifiers as well as Turkish modifiers that were derived from expert opinion. These sets of adjectives were then presented to the subjects and they were asked to make choices among them.
Findings
The results of survey where modifiers defining speech sound are assessed are presented. The results show that some are unsuitable in Turkish despite the same word is used in subjective evaluations in English often. Based on the survey results, a questionnaire can be prepared for determining the user preferences in speech-function halls to increase the acoustic comfort conditions.
Research Limitations/Implications
Need of explaining the room acoustics parameters to the subjects.
Social/Practical Implications
It is thought that the questionnaire text will benefit the increase of the acoustic comfort conditions in the new and / or existing buildings and reduce economic loss.
Originality/Value
This study is the first research which examines Turkish adjectives to describe speech sound.
... τ RS = τ DS + 80 ms, a typical value from room acoustics [Gad07]. ...
We present a technique to model wave‐based sound propagation to complement visual animation in fully dynamic scenes. We employ 2D wave simulation that captures geometry‐based diffraction effects such as obstruction, reverberation, and directivity of perceptually‐salient initial sound at the source and listener. We show real‐time performance on a single CPU core on modestly‐sized scenes that are nevertheless topologically complex. Our key ideas are to exploit reciprocity and use a perceptual encoding and rendering framework. These allow the use of low‐frequency finite‐difference simulations on static scene snapshots. Our results show plausible audio variation that remains robust to motion and geometry changes. We suggest that wave solvers can be a practical approach to real‐time dynamic acoustics. We share the complete C++ code of our “Planeverb” system.
... This parameter is the quantitative measure of the quality of reverberance. While speech loses intelligibility when high reverberance is created in a room, for many forms of music reverberance can add an attractive fullness to the sound by bonding adjacent notes together and blending the sounds from the instruments/voices in an ensemble (Gade 2007). There is a long tradition of suggesting optimal reverberation time values for different kinds of music (Beranek 1962;Barron 1993). ...
... 4 'Pair-matched omnidirectional microphones': 'pair-matched' refers that the measurement microphones were two microphones with the same sensitivity; an 'omnidirectional microphone' responds uniformly to sound pressure from all directions. 5 'Reverberation time' of a room or space is defined as the time it takes for sound to decay by being inaudible(Gade 2007). 6 Note that the clustering coefficient is a quotient that ranges from 0 to 1, and for this study, values tending to 0 are coloured in red and those tending to 1 are coloured in blue. ...
The practice of busking and street music performance is becoming key to the identity of cities. However, although the spatial configuration and acoustics of historic city centres are interrelated, few rigorous studies have been undertaken on this area. The paper presents the results of a quantitative and comparative analysis of the space syntax configuration and on-site sound recordings in four main open environments within the inner core of Barcelona. The aim of this work is to highlight the conflict points between outdoor acoustics and movement flows in order to inform future designs and management of those public spaces.
... Statistical parameters that characterize impulse responses in enclosures, such as the reverberation time, have been extensively studied in room acoustics [91], along with fairly standard estimation algorithms [58]. These parametric models provide insight into impulse responses and enable efficient, natural sounding artificial reverberation [186,165] and efficient acoustical encoding [151] for interactive auralization. ...
Recent advances in signal processing, machine learning and deep learning with sparse intrinsic structure of data have paved the path for solving inverse problems in acoustics and audio. The main task of this thesis was to bridge the gap between the powerful mathematical tools and challenging problems in acoustics and audio. This thesis consists out of two main parts. The first part of the thesis focuses on the questions related to acoustic simulations that comply with the "real world" constraints and the acoustic data acquisition inside of closed spaces. The simulated and measured data is used to solve various types of inverse problems with underlying sparsity. By using the technique of compressed sensing, we estimate the room modes, localize sound sources in a room and also estimate room's geometry. The Finite Rate of Innovation technique is coupled with non-convex optimization for the task of blind deconvolution in the context of echo retrieval. We also invent a new statistical measure for the echo density for the purpose of detecting the type of acoustic environment from its acoustic impulse response, even beyond fully closed spaces. These types solutions can have an application in the blooming domain of virtual, augmented and mixed reality for sound compression and rendering. The second part of the thesis focuses on the recent trends in machine learning that are centered around deep learning. Large scale data acquisition of acoustic impulse responses is still a challenging and very expensive task. Also, the existing databases tend to be too heterogeneous to be merged, due to the lack of the standardization of the acquisition procedure, and also the available metadata tends to be incomplete. In order to keep up with the recent trends and avoid the difficulties that come from the lack of large scale acoustical data, the last part of research in this thesis has diverged from the rest and is devoted to deep learning applied to classification problems in audio with the focus on speech and environmental sounds. The learning procedure is parametrized, which results in an off-grid learning procedure for audio classification. Learned trends align with perceptual trends, which helps the interpretation of the achieved results.
... Statistical parameters that characterize impulse responses in enclosures, such as the reverberation time, have been extensively studied in room acoustics [1], along with fairly standard estimation algorithms [2]. These parametric models provide insight into impulse responses and enable efficient, natural sounding artificial reverberation [3,4] and efficient acoustical encoding [5] for interactive auralization. ...
... We constrain the search space to accelerate convergence. The search for α is unbounded, but for n is bounded by [0, 5] and for (N ∞ − N 0 ) is bounded by [0,2]. With this choice of bounds we have avoided manual tuning in the fitting procedure, since the observations have implied that the sufficient upper bounds would be 2.5 and 0.5, respectively. ...
