... The acoustic measurements were performed according to the methods proposed by the UNI EN ISO 3382-1 50 and following the instructions outlined in the Guidelines for Acoustic Measurements in Opera Houses. 51 Data for the acoustic evaluation were obtained from impulse responses recorded at multiple locations within the hall. ...
... The proposed four-phase methodology for the digitalization and preservation of acoustic heritage in historical theaters.The receivers were positioned 1 [m] above the floor facing the sound source.The positioning of the microphone stations and of the source was based on the lack of architectural symmetry. In the theatre, 32 microphone stations were chosen in the stalls and 6 or 7 (total 27) for each order of stages (Figure 3).Sound sources were positioned according to,50 with a single source on the stage placed 3 [ ] m from the curtain along the symmetry axis. ...
... The IACC coefficient is the maximum value of the normalized cross-correlation function computed within ±1 ms over the first 80 ms. Lower IACC values are associated with greater perceived spatiality.50 ...
This paper presents an innovative procedure for the advanced digitalization of acoustic footprints in historical theaters, aimed at preserving their acoustic characteristics for future reconstruction in the event of disasters. The methodology incorporates laser scanning and acoustic simulations with ODEON, followed by a novel archiving process that ensures the long-term availability of detailed acoustic models. We propose a systematic approach to creating a geometric and acoustic model that includes multi-scenario simulations to capture the acoustic response under varying conditions. The validated acoustic model is then archived in interoperable formats to facilitate future use and reconstruction. By documenting the acoustic parameters alongside the geometric data, this approach not only preserves the theater’s acoustic legacy but also provides a robust framework for future restorations. The results of this study demonstrate the efficacy of this method in maintaining the historical integrity of acoustic responses, ensuring that future generations can experience the unique acoustic characteristics of these sites of cultural heritage.
... The clarity index metric (C80) was proposed as an objective parameter that can quantify the degree of musical clarity in a sound field, based on the early-to-late ratio of sound energy in the room impulse response (RIR) [4]. Clarity index is a well-established metric and has been included in the Annex A of the ISO 3382-1 standard [5], along with other metrics derived from the RIR. However, there is little information of which octave bands of C80 have more influence on the perception of musical clarity. ...
... However, there is little information of which octave bands of C80 have more influence on the perception of musical clarity. In the past, recommendations on how to average different octave bands of C80 to obtain a value better correlated with the perception of clarity have been proposed [5] [6] [7], but these recommendations have often been made without sufficient scientific validation. The purpose of the present study was to propose a weighted average of the octave-band values of C80, called a single-value frequency-averaged metric (SVFA), to obtain a metric better correlated with perceived musical clarity. ...
... Barron [7] justifies this operation since the human ear has a low temporal resolution for frequencies below 500 Hz. The ISO 3382-1 standard [5] proposes the average of the 500 and 1000 Hz octave band values of C80 to obtain a SVFA measure that is better correlated with musical clarity. ...
... The early energy from the sides, for example, was found to correlate with what a listener perceives as a "widening" of the source. The findings have been standardized in an international standard (ISO 3382, [6]). This transition between the physical and perceptual domain shall not be discussed here in detail. ...
... in ISO 3382-1:2009 [6]. With the parameters defined in this standard, room acoustic quality and related phenomena should be well explainable. ...
... However, according to the ISO standard 3382 [6] there is currently no consensual agreement and understanding on its relevance. It might have to do with the fact that On the other hand, IACC ear l y seemed to correlate well with overall quality leading to a "binaural quality index" (BQI = 1-IACC). ...
Reverberation is an important factor of the acoustics in a room. It influences the acoustic perception of the listener and the performer. Each concert venue has its specific acoustic properties. Numerous studies regarding these properties have been conducted, mostly in real world or fully synthesized environments. However, both
acoustic quality and perception in concert spaces are still not satisfactorily explained.
The present thesis contributes new findings in the field of reverberation (late energy) for concert spaces. Previous concepts are further refined and novel approaches suggested. Several experiments are conducted in semi-virtual acoustics, namely real rooms whose existing acoustics is altered by means of an electronic reverberation system with loudspeakers. Thus, the possibility of changing the acoustic situation at the push of a button is offered, while the listeners’ visual and tactile perception remains the one from the real world environment. A lecture hall and a medium-sized concert
hall equipped with enhancement systems are the test environments. Three aspects of reverberation are studied using this technique among others: reverberation level, spatial distribution of reverberation and the connection between signal dynamics and acoustics.
The related perceptual attributes reverberance, listener envelopment and perception of dynamics are investigated by means of listening experiments.
Following a qualitative investigation on enhancement systems, it is observed that
reverberance depends highly on reverberation level. The method of only assessing
decay time is not sufficient. An energy parameter such as strength must be included to predict reverberance. A loudness-based reverberation analysis is further explored and found to perform well in principle, however the three loudness models investigated differ noticeably. The direction of late reverberation in concert halls and the influence on the feeling of envelopment is further specified. Several tests show that the current measure neglects late reverberation from behind and above which contribute to listener envelopment. Lastly, the connection between signal envelope or dynamics and room acoustics is investigated, specifically regarding reverberation. Studies are conducted using, for example, a constant virtual orchestra source or a large pool of audio recordings from concert halls and opera houses. It is observed that reverberation alters the signal dynamic considerably, which is vital both in the context of acoustics and performance practice.
... The RT is only 0.09s higher, which is equal to a 5% relative difference. This is equal to 1 JND as stated in ISO3382-1 (5% relative) [16]. While the standard deviation for T30 is quite low across all variants and positions, the standard deviation of EDT is relatively high across the board except for TWM and TCM variants. ...
... NCF and NWF, both variants without tapestries and few people, do not meet the criteria for a good clarity in the mid frequencies (-2.53 dB and -1.67 dB respectively). Though the difference between the lower limit by [14] (-1.4 dB) and the average C80,3 value for the NWF variant is less than 1 JND (1 dB) for C80 according to the user manual of Odeon [16]. ...
... The G value is an important parameter for the assessment of acoustics in a concert hall. It reveals how loud a room is [16]. A higher G (dB) value means that the response of the room is stronger. ...
... Literatüre göre önerilen optimum D50 değeri 0.3-0.7 arasında olabilir [5]. Bu değerlerden yola çıkarak yine 1000 Hz' de salonlardaki alıcıların değerlerine bakıldığında; alıcı 12 ve alıcı 14 irdelenmiştir. ...
... Literatüre göre optimum aralığı 0.05-0.35' tir [5]. ...
... Yayılım alan teorisine göre G' nin beklenen değeri EDT aynı zamanda da T' nin bir fonksiyonu haline gelir, [3] ses yüksekliği salon hacmiyle ters orantılıdır, T veya EDT ile doğru orantılıdır [6]. Literatürde önerilen optimum G değeri -2 ile 10 aralığıdır [5]. ...
Examples of speech halls which may have different room shape are theatres, conference halls, lecture halls and
auditoriums. These differences cause some acoustical differences. In this paper, fan and diamond plan shapes are
examined and these halls are evaluated in terms of acoustic. For these halls, some speech parameters are compared
and ‘which geometry how affects which parameter’ is decided. Some important speech parameters are EDT-Early
Decay Time, T-Reverberation Time, D-Definition, LF-Lateral Fraction, G-Sound Strength, Ts-Center Time.
... Şekil 13: Anlaşılabilirlik ve belirginlik arasındaki ilişki [4] Literatüre göre önerilen optimum D50 değeri 0.3-0.7 arasında olabilir [6]. Bu değerlerden yola çıkarak yine 1000 Hz' te salonlardaki alıcıların değerlerine bakıldığında; salon 1x1' de alıcı 1 ve alıcı 2 irdelenmiştir. ...
... Literatüre göre optimum aralığı 0.05-0.35 tir [6]. Salonlardaki 1000 Hz' te alıcıların LF80 değerlerine bakılacak olursa bütün alıcılar belirtilen aralıkta yer almaktadır. ...
... [7]. Literatürde önerilen optimum G değeri -2 ile 10 aralığıdır [6]. ...
Examples of speech halls which may have different room shape are theatres, conference halls,
lecture halls and auditoriums. These differences cause some acoustical differences. In this
paper, two different rectangular rooms are examined and these halls are evaluated in terms
of acoustic. For these halls, some speech parameters are compared and ‘which geometry how
affects which parameter’ is decided. Some important speech parameters are EDT-Early
Decay Time, T-Reverberation Time, D-Definition, LF-Lateral Fraction, G-Sound Strength.
... Parameter of Clarity index ( ) is generally used to express a value about the perception of clarity referred to music or speech and the quality of the transmission speech intelligibility by a specific transmission channel (e.g., from a speaker to the audience in a room) [14]. ...
... Parameter of Clarity index (C te ) is generally used to express a value about the perception of clarity referred to music or speech and the quality of the transmission speech intelligibility by a specific transmission channel (e.g., from a speaker to the audience in a room) [14]. ...
... In archaeoacoustics studies it is not always deemed appropriate to use a sound source in line with the signal to noise guidance of BS-EN-ISO-3382-1:2009 [14], as it is unlikely to provide representative speech intelligibility data [29]. Sound sources and receivers' properties were therefore chosen to better represent typical scenarios including both sacral chants from the quire and speeches from the altar and the pulpit sections. ...
The Cistercian order is of acoustic interest because previous research has hypothesized that Cistercian architectural structures were designed for longer reverberation times in order to reinforce Gregorian chants. The presented study focused on an archaeoacacoustics analysis of the Cistercian Beaulieu Abbey (Hampshire, England, UK), using Geometrical Acoustics (GA) to recreate and investigate the acoustical properties of the original structure. To construct an acoustic model of the Abbey, the building’s dimensions and layout were retrieved from published archaeology research and comparison with equivalent structures. Absorption and scattering coefficients were assigned to emulate the original room surface materials’ acoustics properties. CATT-Acoustics was then used to perform the acoustics analysis of the simplified building structure. Shorter reverberation time (RTs) was generally observed at higher frequencies for all the simulated scenarios. Low speech intelligibility index (STI) and speech clarity (C50) values were observed across Abbey’s nave section. Despite limitations given by the impossibility to calibrate the model according to in situ measurements conducted in the original structure, the simulated acoustics performance suggested how the Abbey could have been designed to promote sacral music and chants, rather than preserve high speech intelligibility.
... For EDT, the optimum value is considered as EDT < Tmid [21]. Regarding D50, the optimum level is within the range of 0.30 to 0.70 [22]. For C80, the optimum level is within the range of -2 dB to +2 dB [23]. ...
... The average D50 values obtained when the spectator area is %50 full for the Central Tennis Court of Beşirli are given in Figure 7. The optimum D50 value accepted at medium frequencies during speaking activities for the sports hall was determined as 0.3≤x≤0.7 [22]. When the audience area is %50 full, it is seen that the D50 values obtained for the current state of the tennis court decrease up to 125 Hz at lower frequencies and increase with the frequency increase at frequencies above 125 Hz. ...
Today, although acoustic designs for different purposes are not realized in sports halls designed for sports activities, these halls are widely used for various events such as conferences and concerts. In this study; The main activity area in the Beşirli Central Tennis Court building, which was built for sports activities within the scope of the European Youth Games in Trabzon Province, was evaluated in terms of acoustics for different functional uses by computer simulation method. First of all, 3D models were prepared for the current conditions of the main sports event areas according to different audience occupancy rates. Then the models were transferred to the simulation program to evaluate the objective parameters of the sound. After obtaining the objective parameter values of the sound, 3D models of the hall were prepared again with the sound-absorbing mechanisms placed between the existing steel structural system on the ceiling plane of the hall, designed for the realization of sports, music and speech activities in the sports activity areas. The prepared 3D models were transferred to the ODEON V10 program and the simulation process was repeated. As a result of all simulations, the values of the objective parameters of the sound obtained for indoor sports activity areas were compared and evaluated with each other and the accepted optimum value ranges.
... Evjen et al. [5] extended the procedure further by including three more loudspeaker channels alternating to different elevated/backward directions and confirmed previous findings by Bradley that late lateral energy was dominant for the perception of envelopment. The measures established until then, late lateral sound level L J (associated with LEV in ISO 3382 [6]) and IACC l at e were further refined by Soulodre et al. in [7], [8]: By introducing different integration times per frequency band for strength G, to account for perceptual properties of the hearing system, and connecting this level information with IACC or LF for the spatial component, LEV could be predicted well for a surround setup. Furuya et al. [9] experimented more with different directions of the late reverberation, finding an importance of ca. ...
... Level based acoustic parameters strength G and late lateral level L J were calculated according to the ISO 3382-1 standard [6], averaging G over 500 Hz and 1000 Hz octave bands, and L J over 125 Hz to 1000 Hz octave bands (energy average). Late strength G late (80 ms -inf) was averaged similarly to L J to facilitate comparison between the two parameters. ...
Most studies on the influence of the direction of late reverberation on listener envelopment (LEV) in concert halls have been conducted in laboratory conditions, i.e. where synthetic sound fields and a relatively limited number of loudspeakers were used to approximate a real, spatially quite complex acoustic situation. This study approaches LEV from the real acoustics: The late part of the sound field of two measured concert halls Berlin Konzerthaus and Berlin Philharmonie, auralized with a state-of-the-art reproduction method, is altered virtually regarding its' direction. Results suggest that the figure-of-eight weighting applied in late lateral level L J for predicting envelopment is underestimating the importance of reverberation from directions such as ceiling and rear.
... The SPL was measured for loudspeaker devices fabricated from samples spanning all the polymer blends according to ISO 3382-1:2009(E) 33 standard, as illustrated in Fig. 5a. The sound emitted by the devices was captured using Smaart V7™ software. ...
... A direct correlation between SPL and the beta phase was confirmed by FTIR. We conclude percent crystallinity increases with increasing beta reflection at 1175 cm −1 , correlating to an enhanced piezoelectric coefficient (d 33 ). We further conclude that after thermal poling, the polarization is enhanced, as demonstrated in an increase in beta reflection peaks. ...
The simple structure of flexible piezoelectric polymers implies promise innumerous applications, such as transparent loudspeakers. In this study, we fabricated and characterized a prototype loudspeaker device. The loudspeaker was fabricated using a straightforward method of sandwiching a film of copolymer blend between a pair of flexible ITO substrates, which served as top and bottom electrodes. The dependence of acoustic properties of the devices was investigated in accordance with d33 and piezoresponse force microscopy (PFM). In this study, we examine the sound pressure level (SPL) and sound intensity (SI) of devices featuring 0.5 ≤ α ≤ 0.9 blends, with an active area of 6.5 cm × 5 cm at 100 Vpp applied voltage. Here we report SPL of 96 dB and SI of 3.98 m Wm−2 for an α = 0.7 blend at 100 Vpp. Our results are helpful in developing flexible, transparent piezoelectric polymers and in the development of lightweight, transparent loudspeaker devices.
... The precision is usually determined by standards ISO 5725-1 [10] and ISO 5725-2 [11]. They call for accuracy experiments where participants from different laboratories or companies (preferably [8][9][10][11][12][13][14][15] conduct the mea-surements according to the same method for the same object (here: an open-plan office) to obtain the between-laboratory standard deviation (s L , variation of single measurements between different participants and different apparatus in the same space) and repeatability standard deviation (s r , variation of repeated measurement of the same participant with the same apparatus in the same space). These can be used to calculate the reproducibility standard deviation, s R , which is a superposition of s L and s r . ...
... ISO 3382 [12]. It was replaced by ISO 3382-1 [15] and ISO 3382-2 [14] for performance spaces and ordinary rooms, respectively. Zehner et al. [25] reviewed prior interlaboratory studies on reverberation time measurements. ...
International standards ISO 3382-2 and ISO 3382-3 are increasingly applied to determine the room acoustic conditions in open-plan offices because attention to noise control in such workplaces has increased. The precision of those standards in open-plan offices has not been published. The purpose of this study was to determine the precision of ISO 3382-2:2008 and ISO 3382-3:2012 in an open-plan office following the instructions of ISO 5725 standard. Furthermore, the results were analyzed in the light of ISO CD 3382-3:2020 involving improvements related to uncertainty. An accuracy experiment (a.k.a Round-Robin test, inter-laboratory test, intercomparison test) was arranged where nine independent participants conducted the measurements in the same open-plan office. For ISO 3382-3:2012, the reproducibility standard deviations were 530.5 dB, 1.3 dB, 1.3 dB, and 18% for spatial decay rate of speech (D2,S), A-weighted SPL of speech at 4 m distance (Lp,A,S,4m), A-weighted SPL of background noise (Lp,A,B), and distraction distance (rD). The corresponding values for ISO CD 3382-3:2020 were 0.3 dB, 1.1 dB, 0.6 dB, and 16%, respectively. The reproducibility standard deviations for reverberation time were 4.5–16% within 1/1-octave bands 125–8000 Hz. The measurement uncertainty of ISO CD 3382-3:2020 is smaller than that of ISO 3382-3:2012. The values depended mainly on between-laboratory differences while within-laboratory differences had only a marginal impact. The results can be used in the development of the standards.
... It is clear from Fig. 6 that none of the methods achieved an accurate decay rate. The values are outside the just noticeable difference (JND) of 5% [40], indicated by the shade around the target T60(ω). Surprisingly, the attenuation filter utilized by the ARP-net demonstrates the capability to converge towards the global energy decay despite not conforming DAFx.6 < > to (4). ...
This paper seeks to improve the state-of-the-art in delay-network-based analysis-synthesis of measured room impulse responses (RIRs). We propose an informed method incorporating improved energy decay estimation and synthesis with an optimized feedback delay network. The performance of the presented method is compared against an end-to-end deep-learning approach. A formal listening test was conducted where participants assessed the similarity of reverberated material across seven distinct RIRs and three different sound sources. The results reveal that the performance of these methods is influenced by both the excitation sounds and the reverberation conditions. Nonetheless, the proposed method consistently demonstrates higher similarity ratings compared to the end-to-end approach across most conditions. However, achieving an indistinguishable synthesis of measured RIRs remains a persistent challenge, underscoring the complexity of this problem. Overall, this work helps improve the sound quality of analysis-based artificial reverberation.
... ISO 3382-1 standards define two methods to collect the IR: (1) the interrupted noise method and (2) the integrated impulse response (the impulsive) method [ISO 2009]. The interrupted noise method is more complex and requires special equipment and arrangement. ...
This paper proposes a serious game that explores and digitally reconstructs the soundscape of the relocated Ottoman Sabīl (water dispensary) wa-Kuttāb (Quran elementary school) of Ismāʿīl al-Maghlawī, in historic Cairo, dated to 1657 CE. The sabīl was relocated in 1939 from its original location in Khān al-Khalīlī Street. It used to have an underground cistern, filled yearly with pure water from the Nile River, and provided water to passersby from its water dispensary room's window. Based on primary and secondary sources, the authors digitally reconstruct the building's context, architecture, and spatial practices, integrating the sabīl's hidden sounds, crucial location, water, and people. The authors employed acoustic surveys to collect the impulse responses (IRs) in this sabīl toward developing an auralization using Odeon software. The auralized files were then deployed as a game using the Unity game engine, where players can identify the sabīl's architecture, sounds, and its spatial practices. Additionally, they experience the sabīl's soundscape: the sounds of prayer calls and vibrant markets. The game is available to the public, allowing their engagement with a forgotten sabīl and bringing it back to life.
... criteria in each case study. The most significant acoustic indicators have been collected in compliance with ISO 3382(ISO, 2009). During the measurements, each room was furnished and unoccupied, except for the two operators necessary for the acoustic survey. ...
Central-planned halls are highly widespread in the historical architectures of the Western world, such as rotundae, Christian baptisteries, and Roman tombs. In such halls, whispering galleries, flutter echoes, and sound focusing are the acoustic phenomena mainly investigated by scholars. Instead, modal behaviour and free path distribution are generally less treated in literature. The present study explores the modal density at low frequencies and the relationship with the most recurrent free path lengths in three historical nearly circular spaces, here assessed as case studies. Acoustic measurements allowed the collection of objective experimental data, i.e., room impulse responses and the resulting room acoustics criteria. Wave-based numerical models allowed for the investigation of the eigenfrequencies distribution, while the free paths trend has been experienced through ray-based models. The main outcomes of both analyses show the prominence of the circular modes, rather than the diametral and the elevation ones. Moreover, the mean free path calculated using ray-tracing proves to be higher than the theoretical value commonly assumed for any kind of shape. The consequent longer reverberations compared to halls with other shapes and the same volume justify the significant support historically provided to sound signals by circular halls.
... Acoustic measurements were performed according to ISO 3382-1 [18]. The impulse responses at various points were measured as depicted in Fig. (2). ...
Eigenfrequencies inside a space significantly affect its acoustic characteristics, especially below the Schroeder frequency in the low-frequency range. In Architectural Acoustics, accurate detection and visualization of eigenmodes can be particularly useful in practical applications. One of the most important landmarks in Chania, Greece, is Neoria, a cluster of 16th-century Venetian shipyards. One existing Neoria will be converted and used as a multipurpose hall. For this objective, acoustic modeling and various measurements were performed in the space. One of the purposes of the measures and modeling was the investigation of the eigenfrequencies and the eigenmodes of the area. Finite Element Method (FEM) was used for the acoustic modeling, while the acoustic measurements were performed in various positions according to ISO 3382-1. Impulse responses were measured, and frequency responses of the space were extracted using Fourier analysis. The measurements and the acoustic modeling results show that the frequencies with the most significant effect on the area are 86.1 Hz, 150.7 Hz, and 204.6 Hz. Eigenmodes of the frequencies are visualized with the application of FEM and especially the positions of nodes and antinodes, which can be utilized appropriately for the optimum placement of absorbers and diffusers in the space.
... According to the Brazilian version of ISO Standard 3382 part I [28], a minimum of 2 positions for the sound sources and 6 positions for the receivers are required since the church provides less than 500 seats. Therefore, two sound sources were used: one of the main loudspeakers (already installed on the side wall) and another loudspeaker (same model) placed at the stage, simulating a speaker (preacher) without using any electro-acoustic system. ...
This paper presents the acoustical evaluation of a representative evangelical church in Rio de Janeiro, Brazil. The analysis, performed through measurements and simulations, has shown that the acoustic field needs to be more appropriate for the temple’s actual use. The analysis measured the impulse responses at 14 positions from 2 source locations and calculated Reverberation Time and Clarity Factor acoustic parameters. According to the literature and the ISO standards, the Reverberation Time was considered higher than the optimum value for both speech or music. An acoustic model for the temple was developed using the BRASS simulator. The simulation results were compared to measured data to validate the acoustic model. Based on that and aiming to achieve optimum acoustic parameters, a new model was proposed to evaluate alternatives to adequate the acoustical characteristics of the temple. The strategy to develop the final model and to achieve the target Reverberation Time is presented and discussed. An acoustic intervention is then proposed and evaluated using simulated data. The results obtained with the proposed changes, which considered the inclusion of perforated panels and carpet in some walls, were adequate, providing Reverberation Time in accordance to the standards and significant improvement to Clarity for music and speech.
... Measurements of reverberation time (unoccupied conditions), sound level distribution, and background noise levels were performed in the three selected spaces (see Norsonic (2020) for equipment specification) according to pertinent standards (ISO 3382-1 and ISO 3382-2) (ISO, 2008;ISO, 2009). The sound source was positioned 1.50 m from the ground. ...
Educational institutes located in historical buildings must frequently repurpose available spatial resources toward accommodation of new and emerging functional needs. This may lead, among other things, to problems regarding the acoustic performance of the repurposed rooms. Specifically, a central function of spaces in academic settings is information exchange, which requires suitable acoustic conditions. In this context, the present paper entails the acoustic study and evaluation of selected rooms in a university building, which have been repurposed to serve as multi-functional learning and working environments. To this end, both computational means and diagnostic methods were employed. The results of the study suggest that the room acoustics conditions in the repurposed rooms deviate in part from those recommended in pertinent standards.
... It can be quantified by the measures reverberation time and reverberation level (or diffuse sound level). The former can be used to describe how long the reverberation decays and is well established in practice [1]. The latter can be used to describe the strength of reverberation energy and is far less used in practice. ...
Als eine Alternative zur klassischen Nachhallzeitberechnung wurde von Lee et al eine lautheitsbasierte Impulsantwortanalyse unter Verwendung der frei zugänglichen Lautheitsmodelle DLM und TVL vorgestellt. Durch den Ansatz sollen die beiden Aspekte Nachhallpegel und Nachhallzeit sowie weitere wahrnehmungsrelevante Effekte kombiniert werden. Der lautheitsbasierte Ansatz wurde bislang nur für relativ große Parameteränderungen getestet und nicht re-validiert, was für einen Schritt in Richtung der praktischen Nutzung nötig wäre.
In einem Hörversuch in semi-virtueller Umgebung wurden Stimuli mit verschiedener Nachhallcharakteristik bezüglich „gleicher Halligkeit“ angepasst. Die zugehörigen Impulsantworten wurden in der Folge mit drei Lautheitsmodellen (DLM, TVL und zusätzlich ISO532-1:2016) analysiert und liefern die Lautheits-Nachhallzeiten EDTN und TN30.
Es zeigt sich, dass das TVL-Modell eine passende EDTN liefert, die besser als der konventionelle Parameter EDT zum Höreindruck passt. Weitere Vergleiche zeigen, dass Nachhallwerte aus dem TVL-Modell durchweg länger sind als die des DLM. Das (genormte) ISO Lautheitsmodell scheint für Auswertungen des Nachhalls am wenigsten geeignet zu sein. In dem Beitrag werden die Versuche vorgestellt und Ergebnisse diskutiert.
... . Thus, the importance of late reverberation from the rear or the ceiling is not clarified. Nevertheless, the predictor late lateral level L J, is currently accepted and included in the international standard ISO 3382-2 8 . Further studies found that the time limit introduced to separate early and late sound should be frequency dependent 10 . ...
Recent laboratory studies (i. e. Lachenmayr, Haapaniemi and Lokki, 2016) indicate that large concert halls with central stage and sloping audience such as the Berlin Philharmonie deliver a lesser feeling of listener envelopment (LEV) than the rectangular flat Berlin Konzerthaus. It was argued that this is related to the directional distribution of late reverberation.
In the present study, the effect of directional distribution and strength of late reverberation was systematically studied in situ in two different halls, a lecture hall (770 m³) and a small concert hall (4150 m³). Using the acoustic enhancement system VIVACE the amount and direction of late energy from different loudspeaker groups was adjusted. The importance of each reverberation direction (front, side, top and rear) was ranked by means of listening tests.
The currently accepted and standardized “late lateral sound level” underestimates the significant influence of late reverberation from behind. Also, the investigations confirm that Interaural cross-correlation (IACC) of late reverberation is not sufficient for predicting LEV, as it does not react to level differences. Semi-virtual conditions as utilized provide an interesting method for perceptual testing.
... Initial conversations with hospital staff revealed certain annoyances related to the acoustic parameters of reverberation time [42,77] and speech intelligibility [48] in the patient dining area. Specifically, the project nurse characterised the room as "ringing" and described a tendency of the room to accumulate "noise", which, in turn, caused both staff and patients to gradually increase the volume of their speech in order to make themselves heard. ...
Eating-related challenges and discomforts arising from moderately acquired brain injuries (ABI)—including physiological and cognitive difficulties—can interfere with patients’ eating experience and impede the recovery process. At the same time, external environmental factors have been proven to be influential in our mealtime experience. This experimental pilot study investigates whether redesigning the sonic environment in hospital dining areas can positively influence ABI patients’ (n = 17) nutritional state and mealtime experience. Using a three-phase between-subjects interventional design, we investigate the effects of installing sound proofing materials and playing music during the lunch meals at a specialised ABI hospital unit. Comprising both quantitative and qualitative research approaches and data acquisition methods, this project provides multidisciplinary and holistic insights into the importance of attending to sound in hospital surroundings. Our results demonstrate that improved acoustics and music playback during lunch meals might improve the mealtime atmosphere, the patient well-being, and social interaction, which potentially supports patient food intake and nutritional state. The results are discussed in terms of potential future implications for the healthcare sector.
... The second preparation phase was conducting field measurements to obtain the original reverberation times of the private lecturer offices. The measurements were performed in accordance with ISO 3382-1 and ISO 3382-2 [29,30]. A single NTi DS3 omnidirectional sound source connected to an NTi PA3 power amplifier at a height of 1.6 m, and one omni-directional Behringer ECM8000 sound receiver was placed in the regular seating positions. ...
This study investigates the influence of reverberation time and sound source composition on the sense of place. The experiments were conducted in the private lecturer offices located in the Faculty of Architecture, Çankaya University. The sense of place of 15 participants was tested in the original offices of each participant and eight additional acoustic auralisations, in which reverberation times and sound source compositions were modified. The analysis of the results revealed that there is a direct influence of reverberation time and sound source composition on the sense of place. It was observed that longer reverberation times partially enhanced the sense of place. Additionally, the sound source composition influenced the relation towards the place, and certain sound signals diminished the sense of place in the private offices. Furthermore, this study used a psychophysical scaling method (Absolute Magnitude Estimation scale [AME]) which indicated its validity and importance in investigating the effect of physical stimuli on the sense of place. The AME revealed the sense of place by directing the influence towards the place construct indicators rather than investigating the general relation towards the place. It was concluded that reverberation time and sound source compositions could enhance and/or diminish sense of place; hence, RT and sound source compositions can affect interpretation of and behavior towards a given place.
... Specifically, we convolved three impulse responses of reverberation times 0.2s, 0.6s and 1.0s with a 5-second long clean human speech recording to generate three corresponding reverberant speech. The commonly used just-noticeable-difference (JND) of reverberation times is a 5% relative change [17], so in normal conditions we expect a listener to correctly rank our three audios by their reverberation levels. Each participant is asked to listen to the three audios with no time limit, and sort them from the most reverberant/echoy to the least reverberant/echoy. ...
... In particular, IACC E3 and IACC L3 are, respectively, strongly correlated with the perception of ASW and LEV. It is noted that the JND for IACC is 0.075 (ISO, 2009). Similarly, the DRR is one of the two main cues for the perception of distance (with sound level), and is also related to the perception of reverberance. ...
Auralizations can be computed in a variety of ways as well as be rendered over different sound reproduction systems. They are used as a design tool in architectural projects and for fundamental studies on spatial perception and cognition, hence requiring reliability and confidence in the obtained results. This study assessed this reliability through auditory perception stability by comparing the perceived differences between two rendering systems for a given set of second-order Ambisonic auralizations: virtual loudspeaker binaural rendering over head-tracked headphones versus 32-loudspeaker rendering. Anechoic extracts of jazz pieces have been recorded and presented in various acoustic conditions over these two systems, evaluated on the following criteria: Readability, distance, listener envelopment (LEV), apparent source width (ASW), reverberance, and loudness. Results show that consistent significant differences between scene conditions are comparably perceived across the two systems. However, significant effects of the sound reproduction system were observed for ASW, LEV, and reverberance in some configurations.
Archaeoacoustics, an interdisciplinary field that combines archaeology, acoustics and computer modeling, traditionally researches the sonic dimensions of ancient cultures, revealing insights beyond conventional methods. This article, however, extends these techniques to the preservation of industrial heritage based on a critical heritage perspective. By focusing on the MNACTEC museum network’s project “The Sounds of Industry”, it illustrates how capturing, analyzing and recreating the sounds of the industrial past can enhance heritage conservation. By providing immersive auditory experiences, archaeoacoustics presents a unique method for connecting contemporary audiences with the industrial past. This study underscores the potential of sound-based heritage projects to deepen public understanding and appreciation of historical narratives.
In ancient Greece, the 4th century B.C.E. was a time of rapid development in arts, culture, science, politics, and theater architecture. The first part of this article describes the origin and use of the Greek theater building and its connection to the Dionysus cult and festivals with musical and drama competitions. Next, scientific context is discussed as a background regarding the highly skilled architects who designed these theaters. The 4th century B.C.E. is characterized by the blooming of the sciences, especially mathematics, strongly stimulated by Plato's Academy near Athens. The architecture of the theater changed within this century. While earlier theaters had mostly rectilinear seat-rows, symmetry and a stricter geometry started to characterize theater design. In this study, six theaters were selected for acoustical analysis: three of them with rectilinear shapes, and three of the well-known semicircular form. Acoustical analyses show that the archaeologically demonstrated shift in theater design from a simple rectilinear shape to the historically canonical semicircular shape was a way to increase theater capacity and at the same time improve the acoustics. Acoustical analyses reveal some of the design principles that can explain the excellent acoustics of these theaters and the applied knowledge of their designers.
The Virupaksha temple in Pattadakal and the Vijaya Vittala temple in Hampi are excellent examples of Hindu temple architecture from the 8th and 15th centuries, respectively, and both have historical links to musical performance. This paper furthers the emerging field of archeoacoustics, analyzing the impulse responses and decay curves from both temples. Given the importance of frequency-focused elements of Hindu worship, alongside standard acoustic parameters like T30 and C80, a frequency-domain analysis was performed. Results indicate low-frequency amplification akin to other cultural heritage sites, but the resonance quality and width differ, establishing a basis for further research in this area.
Assessing blending of instruments is important in music performance and perception research, but remains underexplored due to its complex multi-dimensional nature. Despite extensive research on source-level blending, the influence of room acoustics on this process is rarely examined. This study proposes a computational modelling approach to evaluate the perceived overall blending between instruments examining the blending at the source-level and its alteration brought by room acoustics. Three audio stimuli, each showcasing different degrees of source-level blending between two violins, were auralized in 25 simulated room acoustic environments, with expert listeners assessing their overall perceived blending. The correlation analysis of room acoustic parameters revealed that their influence on overall blending is contingent upon source-level blending. A random forest regression model is proposed to predict perceived overall blending ratings using source-level blending ratings and room acoustic parameters.
Its viability was confirmed through twofold evaluation, including Leave-one-out-cross-validation and separate
training and test data, with a mean absolute error of 6% in each case. Feature importance analysis revealed that
source-level blending contributes 60%, while room acoustics contribute 40% of the overall perceived blending ratings,
with perceived reverberance being the primary contributor. Overall, this investigation contributes to a more
holistic understanding of blending perception
Multipurpose halls are designed to host various performances. However, achieving the ideal reverberation time (RT) for each of the different performance types can be challenging. This study investigates five halls of various sizes to determine the effects of sound-absorbing devices on variable RTs in multipurpose halls. The composition and sound absorption properties of the finishing materials were investigated in areas where sound-absorbing devices were not applied. Further, the changes in the room acoustic parameters of these medium-sized multipurpose halls were analyzed using computer-based acoustic simulations to find a suitable answer among the various solutions tested. By applying sound-absorbing devices (resonant-type) to 25% of the walls and ceilings of the target halls, the absorption and reflection modes displayed a variability range of more than 0.5 s in the bass-mid frequency (250–500 Hz). However, a variable range of 0.18 s was found in the high frequency (2000 Hz). To improve the low variable range in the high frequency, a partial application of a high-frequency high-performance sound absorption banner (porous-type) was used to secure a variable range of 0.35 s in the high frequency. Variable sound-absorbing devices should be considered to achieve effective RT variation for all frequencies.
The vibrational response of an elastic panel to incident acoustic waves is determined by the direction-of-arrival (DOA) of the waves relative to the spatial structure of the panel's bending modes. By monitoring the relative modal excitations of a panel immersed in a sound field, the DOA of the source may be inferred. In reverberant environments, early acoustic reflections and the late diffuse acoustic field may obscure the DOA of incoming sound waves. Panel microphones may be especially susceptible to the effects of reverberation due to their large surface areas and long-decaying impulse responses. An investigation into the effect of reverberation on the accuracy of DOA estimation with panel microphones was made by recording wake-word utterances in eight spaces with reverberation times (RT60s) ranging from 0.27 to 3.00 s. The responses were used to train neural networks to estimate the DOA. Within ±5°, DOA estimation reliability was measured at 95.00% in the least reverberant space, decreasing to 78.33% in the most reverberant space, suggesting an inverse relationship between RT60 and DOA accuracy. Experimental results suggest that a system for estimating DOA with panel microphones can generalize to new acoustic environments by cross-training the system with data from multiple spaces with different RT60s.
In this work, plaster and natural Posidonia Oceanica (PO) fibers are combined to create a composite material that was recently produced. This work’s primary objective is to assess the mechanical and thermophysical performance of the composite material in order to determine whether or not it may be used as a thermal and acoustic insulation material in buildings. For this end, prismatic and parallelepipedic specimens of different dimensions were made with fiber percentages ranging from 0% to 20%. In addition, parallelepiped panels (600 mm × 600 mm × 40 mm³) were also prepared containing 10% of PO fibers. Mechanical properties (flexual strength, compressive strength), thermal properties and sound absorption coefficient were investigated. For each test specimen, the density was calculated for a proportion of fibers ranging from 0% to 20%. The results indicated a marked improvement in the compressive and flexural strength of the fiber-reinforced mixtures. This improvement is respectively 14.5% and 33.8% for mixtures containing 10% of PO fibers. Additionally, the addition of PO fibers significantly decreases density (by 40.5%), thermal conductivity (by 68.5%) and thermal diffusivity (by 36.9%) of the different mixtures. The ideal mechanical characteristics are attained when 5%–10% of the volume is made up of Posidonia Oceanica fibers. The results of the sound absorption coefficient test show that the mixture of plaster with 10% fibers has a good sound absorption coefficient of 0.78 for high frequencies between 1000 Hz and 4000 Hz. This work has shown conclusively that the incorporation of PO fibers, up to a maximum of 10% with plaster, makes it possible to obtain a lightweight composite that can potentially be used as a new insulating construction material.
The emotional impact of sound depends on its characteristics. Given that such characteristics can be modified when the sound is played in a room, it is crucial to examine how the acoustic characteristic of a room can impact the emotional experience. Researchers have investigated the links between the acoustic parameters of concert halls and the emotional impact; however, the applicability of such links to other building types, such as worship spaces, needs to be studied. In a previous study, the author analyzed the emotional response to the acoustic environments of worship spaces using self-report and physiological indicators. This paper builds on the previous work by analyzing the acoustic parameters of the buildings from the previous study and establishing links between such parameters and the emotional response indicators. It also analyzes the frequency domain to study the role of the interaction between the room and sound source in enhancing the emotional experience and introduces resonance quality (Q) and resonance width (Δf) as important parameters to consider in room acoustics. The results showed the significance of considering frequencies < 1000 Hz in analyzing the acoustics of the studied worship spaces and demonstrated that amplifying the dominant frequency range of the sound source was linked to enhancing the emotional experience.
Unlike electro-acoustic sound sources, musical instruments have a time-varying, dynamic directivity, due to the note-dependent radiation behavior of the instrument and due to the expressive movements that musicians perform with their instrument. While previous studies have generally examined the directivity of the static, unmoved instrument for specific notes played, we show the individual and combined contributions of these two factors to a temporal modulation of the radiation behavior, based on motion tracking of typical movement patterns for all instruments of a classical symphony orchestra and on the directivity measured for all partials over the entire pitch range of these instruments. The effect of this modulation, which is manifested by changes in timbre and room acoustic excitation, was determined by spectral variations in the free field and under reverberant conditions, as well as by a modulation of room acoustic parameters. Our results show that these effects are well above the just noticeable differences for all musical instruments and all perceptual variables considered. While the effect of motion dominates for brass instruments , string and woodwind instruments exhibit large note-related differences, which should be taken into account in virtual acoustic realities if an auditory liveliness comparable to physical reality is to be achieved.
Roman theatres have always been the subject of research that takes into account not only acoustics, but also archaeological and architectural aspects. It is difficult to draw the boundary line between these disciplines since the interrelation between the different types of expertise is necessary to allow a good production of contemporary architecture in a specific context, such as a Roman theatre. This paper deals with the acoustic analysis of three specific scenarios in the context of the Roman theatre of Pompeii. The reconstruction of the original form, which represents the first scenario, is based on the recent archaeological findings of the ancient city, which was buried for almost two millennia after the eruption of the volcano Vesuvius. The second scenario envisions a future acoustic shell in the form of a mushroom, where the ceiling is the continuation of the vertical surface. The third scenario consists of a parametric design of a shell, representing a modern style velarium; as the curve creates focusing effects, the addition of reflective panels directs the sound evenly to the audience. These latest two architectural designs are intended to make the archaeological site of Pompeii suitable for live concerts and contemporary venues. The digital model representing the current conditions was calibrated with the measured values; the calibrated model was used to study the design of two parametric shell options, proposed as alternatives to provide good acoustics to the audience. The simulated results indicate that the main acoustic parameters are closer to or within the optimal values, resulting in a significant improvement in the acoustic performance of the space.
This paper presents a crossed rib diffuser (CRD) as an effective tool for room acoustic control. We performed an experimental investigation of its effectiveness using a specimen manufactured for this trial. The CRD is constructed by overlapping two one-dimensional (1D) periodic rib diffusers with different specifications so that they are crossed at non-right angles. The CRD achieves a higher scattering coefficient than 1D periodic rib diffusers in a wide band while maintaining the simple and friendly design of 1D periodic rib diffusers applicable to various architectural spaces. Moreover, inserting an absorbing layer between upper and lower ribs of the CRD, (CRD-A) yields a high broadband absorption coefficient. We first evaluated the random-incidence scattering coefficient of CRD using a 1/5 scaled model in comparison with those of 1D periodic diffusers assessed with a numerical method. Then, absorption coefficients for the CRD and the CRD-A were measured using a reverberation room. Subsequently, an experiment on a small meeting room with a 1D periodic rib diffuser, the CRD and the CRD-A was conducted to present performance of the CRD in room acoustic control. Impulse response measurements and evaluations of reverberation parameters (T20 and EDT) and speech clarity (D50) were conducted. Additionally, we present differences in structure of reflected sounds found for the flat wall, the CRD and the CRD-A visually using a four-channel sound field microphone.
Throughout history, many buildings of significant cultural value have been lost due to natural disasters (e.g., earthquakes, volcanic eruptions, subsidence, etc.) as well as other human causes (e.g., fire, war destruction, etc.). The Tajo Opera theatre was hit by an earthquake that led to the collapse of the entire structure eight months after it was built. This paper deals with the revival of the acoustic characteristics of one of the masterpieces of the architect Giovanni Carlo Sicinio Galli Bibiena. The realization of a three-dimensional (3D) model that faithfully reproduces the architectural features of the Royal Tajo Opera theatre of Lisbon allows the authors to perform acoustic simulations that reveal the sound field representing the environment perceived by the audience during artistic performances in Lisbon in 1755. In addition, the simulated results have been compared with the values of the Teatro Comunale of Bologna, which has a similar bell-shaped plan layout and has already been studied by the authors. For the comparison of the two opera theatres, both the stalls and the balconies have been considered.
This interdisciplinary study brings together acousticians and anthropologists to examine the memory of the acoustics of Notre-Dame de Paris before the fire of April 2019, using a qualitative approach to collect the testimonies of 18 people involved in the sound usages of the cathedral. Testimonies were analyzed in light of research conducted in the anthropology of the senses, sensory perception, memory, and cultural heritage. Analysis highlights an apparent contradiction between the remarkable acoustics of the monument before the fire and the impression of musicians. These musicians reported a struggle to tame the cathedral’s sound space, to hear each other well enough to craft their performances and to reach an acceptable level of clarity in their musical practice. These phenomena are examined with acoustic measurements and numerical simulations using a calibrated geometrical acoustics model of the cathedral before the fire, which allows for an objective exploration of the acoustic characteristics of Notre-Dame. This analysis concludes that the well-known reverberation of Notre-Dame, as well as the acoustic barrier of the transept and the poor acoustic return on the podium (the usual place for concert performers) negatively impact singers’ comfort. This highlights the tension between the original architectural design of the cathedral and its modern religious and cultural usages. However, the regular occupants have developed a deep familiarity with these constraints during their ritual and musical practices, adjusting to the acoustics in a unique way. Such a tradition of adaptation must be considered as a part of cultural practice, not to be overlooked during the reconstruction.
Wave-based techniques for room acoustics simulations are commonly applied to low frequency analysis and small-sized simplified environments. The constraints are generally the inherent computational cost and the challenging implementation of proper complex boundary conditions. Nevertheless, the application field of wave-based simulation methods has been extended in the latest research decades. With the aim of testing this potential, this work investigates the feasibility of a finite-difference time-domain (FDTD) code simulating large non-trivial geometries in wide frequency ranges. A representative sample of large coupled-volume opera houses allowed demonstration of the capability of the selected FDTD model to tackle such composite geometries up to 4 kHz. For such a demanding task, efficient calculation schemes and frequency-dependent boundary admittances are implemented in the simulation framework. The results of in situ acoustic measurements were used as benchmarks during the calibration process of three-dimensional virtual models. In parallel, acoustic simulations performed on the same halls through standard ray-tracing techniques enabled a systematic comparison between the two numerical approaches highlighting significant differences in terms of input data. The ability of the FDTD code to detect the typical acoustic scenarios occurring in coupled-volume halls is confirmed through multi-slope decay analysis and impulse responses' spectral content.
This interdisciplinary study brings together acousticians and anthropologists to examine the memory of the acoustics of Notre-Dame de Paris before the fire of April 2019, using a qualitative approach to collect the testimonies of 18 people involved in the sound usages of the cathedral. Testimonies were analyzed in light of research conducted in the anthropology of the senses, sensory perception, memory, and cultural heritage. Analysis highlights an apparent contradiction between the remarkable acoustics of the monument before the fire and the impression of musicians. These musicians reported a struggle to tame the cathedral's sound space, to hear each other well enough to craft their performances and to reach an acceptable level of clarity in their musical practice. These phenomena are examined with acoustic measurements and numerical simulations using a calibrated geometrical acoustics model of the cathedral before the fire, which allows for an objective exploration of the acoustic characteristics of Notre-Dame. This analysis concludes that the well-known reverberation of Notre-Dame, as well as the acoustic barrier of the transept and the poor acoustic return on the podium (the usual place for concert performers) negatively impact singers' comfort. This highlights the tension between the original architectural design of the cathedral and its modern religious and cultural usages. However, the regular occupants have developed a deep familiarity with these constraints during their ritual and musical practices, adjusting to the acoustics in a unique way. Such a tradition of adaptation must be considered as a part of cultural practice, not to be overlooked during the reconstruction.
Changing the balance between the early and late reflections in the impulse response affects the clarity of speech, and also the spatial perception of the sound source is affected when the direction of the early reflections is manipulated. While the effect of noise on early reflections has long been investigated in speech intelligibility studies, it is unclear whether and how the spatial characteristics of the source are altered by noise, and whether this would influence speech intelligibility in any way. The aim of the present work was to analyze the spatial perception of a speech source in noise and its relationship, if any, with speech intelligibility. Impulse responses with specular or scattered early reflections and two different reverberant tails were used to create sound fields with controlled clarity and reverberation. It emerged that noise affects spatial cues compared to the reverberation-only (quiet) condition; ratings are consequently changed, and most percepts are distorted. Speech intelligibility is also sensitive to changes in acoustic variables and the type of reflection, but the direct association between spatial percepts and speech intelligibility is weak.
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.
Acoustics is one of the basic environmental comfort factors both in indoor and outdoor spaces. Students of
architecture need to confront this theoretical field at some phase of their education. The main focus of this study is to
provide a discussion platform of tools and teaching styles in architectural acoustics education of future architects, by
depicting approaches that can motivate students and provide them a long-lasting understanding of the phenomena.
Accordingly, a long-term experience in acoustics classes with undergraduate and graduate level students, mainly
from departments of architecture of two prominent Turkish universities, is exemplified. Course contents of architectural
acoustics programs are described, different models and methods of teaching are discussed, and last, selected
projects, specifically those having an academic output, are presented. The study also aims to highlight some techniques
and approaches that can be employed in acoustics education with limited technological tools, simply by active
inclusion of the design background and creative thinking of the architecture students in this applied research area.
Musicians and music professionals are often considered to be expert listeners for listening tests on room acoustics. However, these tests often target acoustic parameters other than those typically relevant in music such as pitch, rhythm, amplitude, or timbre. To assess the expertise in perceiving and understanding room acoustical phenomena, a listening test battery was constructed to measure the perceptual sensitivity and cognitive abilities in the identification of rooms with different reverberation times and different spectral envelopes. Performance in these tests was related to data from the Goldsmiths Musical Sophistication Index, self-reported previous experience in music recording and acoustics, and academic knowledge on acoustics. The data from 102 participants show that sensory and cognitive abilities are both correlated significantly with musical training, analytic listening skills, recording experience, and academic knowledge on acoustics, whereas general interest in and engagement with music do not show any significant correlations. The regression models, using only significantly correlated criteria of musicality and professional expertise, explain only small to moderate amounts (11%-28%) of the variance in the "room acoustic listening expertise" across the different tasks of the battery. Thus, the results suggest that the traditional criteria for selecting expert listeners in room acoustics are only weak predictors of their actual performances.
Open-air spectacles near populated areas can cause noise issues. Sound engineers need an estimation of the limits at their mixing desk to avoid noise regulation infringements in places that can be far away. The Swept Sine Method is well known to set up sound systems among other uses but has never been used to assess long distance noise levels. This technique allowed a quick estimation in a neighbourhood with noise complaints caused by a theatre located on the other side of a valley. Traditional methods like sound level meter measurements failed as background noise was higher than the levels to be measured. This method can be applied to any situation where the noise source is electroacoustic.
The Eszterháza Opera House was a theatre built by the will of the Hungarian Prince Nikolaus Esterházy in the second half of the 18th century that had to compete in greatness and grandeur against Austrian Empire. The composer that inextricably linked his name to this theatre was Haydn that served the prince and composed pieces for him for many years. The Opera House disappeared from the palace complex maps around 1865 and was destroyed permanently during the Second World War. This study aims to reconstruct the original shape and materials of the theatre, thanks to the documents founded by researchers in the library of the Esterházy family at Forchtenstein, the Hungarian National Library, and analyze its acoustic behavior. With the 3D model of the theatre, acoustic simulations were performed using the architectural acoustic software Ramsete to understand its acoustical characteristics and if the architecture of the Eszterháza Opera House could favor the Prince’s listening. The obtained results show that the union between the large volume of the theatre and the reflective materials makes the Opera House a reverberant space. The acoustic parameters are considered acoustically favorable both for the music and for the speech transmission too. Moreover, the results confirm that the geometry and the shape of the Eszterháza Opera House favored the Prince’s view and listening, amplifying onstage voices and focusing the sound into his box.
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