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Abstract

Accurate definition of boundary conditions is of crucial importance for room acoustic predictions because the wall impedance phase angle can affect the sound field in rooms and acoustic parameters applied to assess a room reverberation. In this paper, the issue was investigated theoretically using the convolution integral and a modal representation of the room impulse response for complex-valued boundary conditions. Theoretical considerations have been accompanied with numerical simulations carried out for a rectangular room. The case of zero phase angle, which is often assumed in room acoustic simulations, was taken as a reference, and differences in the sound pressure level and decay times were determined in relation to this case. Calculation results have shown that a slight deviation of the phase angle with respect to the phase equal to zero can cause a perceptual difference in the sound pressure level. This effect was found to be due to a change in modal frequencies as a result of an increase or decrease in the phase angle. Simulations have demonstrated that surface distributions of decay times are highly irregular, while a much greater range of the early decay time compared to the reverberation time range indicates that a decay curve is nonlinear. It was also found that a difference between the decay times predicted for the complex impedance and real impedance is especially clearly audible for the largest impedance phase angles because it corresponds approximately to 4 just noticeable differences for the reverberation metrics.
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Authors and Affiliations

Mirosław Meissner
1
Tomasz G. Zieliński
1

  1. Institute of Fundamental Technological Research, Polish Academy of Sciences, Warsaw, Poland
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Abstract

A theoretical method has been presented to describe sound decay in building enclosures and to simulate the room impulse response (RIR) employed for prediction of the indoor reverberation characteristics. The method was based on a solution of wave equation having the form of a series whose time-decaying components represent responses of acoustic modes to an impulse sound source. For small sound absorption on room walls this solution was found by means of the method of variation of parameters. A decay function was computed via the time-reverse integration of the squared RIR. Computer simulations carried out for a rectangular enclosure have proved that the RIR function reproduces the structure of a sound field in the initial stage of sound decay suffciently well. They have also shown that band-limitedness of the RIR has evident influence on the shape of the decay function and predicted decay times.
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Authors and Affiliations

Mirosław Meissner
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Abstract

A new method for determining optimum dimension ratios for small rectangular rooms has been presented. In a theoretical model, an exact description of the room impulse response was used. Based on the impulse response, a frequency response of a room was calculated to find changes in the sound pressure level over the frequency range 20–200 Hz. These changes depend on the source and receiver positions, thus, a new metric equivalent to an average frequency response was introduced to quantify the overall sound pressure variation within the room for a selected source position. A numerical procedure was employed to seek a minimum value of the deviation of the sound pressure level response from a smooth fitted response determined by the quadratic polynomial regression. The most smooth frequency responses were obtained when the source was located at one of the eight corners of a room. Thus, to find the best possible dimension ratios, in the numerical procedure the optimal source position was assumed. Calculation results have shown that optimum dimension ratios depend on the room volume and the sound damping inside a room, and for small and medium volumes these ratios are roughly 1 : 1.48 : 2.12, 1 : 1.4 : 1.89 and 1 : 1.2 : 1.45. When the room volume was suitably large, the ratio 1 : 1.2 : 1.44 was found to be the best one.
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Authors and Affiliations

Mirosław Meissner
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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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Authors and Affiliations

Wiesław Woszczyk
Doyuen Ko
Leonard Brett

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