Open Access. Powered by Scholars. Published by Universities.®
- Publication
- Publication Type
Articles 1 - 10 of 10
Full-Text Articles in Architectural Engineering
Multi-Channel Orchestral Anechoic Recordings For Auralizations, Michelle C. Vigeant, Lily M. Wang, Jens Holger Rindel, Claus Lynge Christensen, Anders Christian Gade
Multi-Channel Orchestral Anechoic Recordings For Auralizations, Michelle C. Vigeant, Lily M. Wang, Jens Holger Rindel, Claus Lynge Christensen, Anders Christian Gade
Lily M Wang
Multi-channel orchestral anechoic recordings were obtained at the Technical University of Denmark (DTU) in June 2005. Every orchestral part of specific movements of two symphonies, Brahms’ Symphony No. 4, 3rd movement, and Mozart’s Symphony No. 40 in g minor, 1st movement, were digitally recorded using five 0.5” DPA microphones, with four surrounding the musicians in the horizontal plane and the fifth directly above. The recordings were made in DTU’s large anechoic chamber, which has free space of about 1000 m3 and a lower frequency limit of 50 Hz. Each musician was recorded individually, and to assist with overall synchronization of …
Effects Of Changing The Amount Of Absorption In A Computer Model Of Queen’S Hall, Copenhagen, Denmark, Michelle C Vigeant, Lily M. Wang, Jens Holger Rindel
Effects Of Changing The Amount Of Absorption In A Computer Model Of Queen’S Hall, Copenhagen, Denmark, Michelle C Vigeant, Lily M. Wang, Jens Holger Rindel
Lily M Wang
Room acoustics modelling and auralizations are very useful tools in the design of acoustically sensitive spaces. One area of improvement for auralizations is the method of modelling the source directivity. A new method to incorporate source directivity is multi-channel auralizations. This study first evaluates the objective effects of using four and thirteen channel impulse responses in an ODEON model of Queen’s Hall, where the actual variable absorption is changed within the model. Analyses of the results reveal great differences in the objective parameters of reverberation time and sound pressure level across each channel’s impulse response. Subjective studies were then conducted …
Investigations Of Multi-Channel Auralization Technique For Various Orchestra Arrangements, With Phase-Shifted String Sections, Michelle C Vigeant, Lily M. Wang
Investigations Of Multi-Channel Auralization Technique For Various Orchestra Arrangements, With Phase-Shifted String Sections, Michelle C Vigeant, Lily M. Wang
Lily M Wang
An orchestra can be simulated in room acoustics computer modelling using a variety of methods, ranging from a single omni-directional source to individual sources of all instruments. This study utilizes the method of individual sources for each instrument, but with reduced source representation for the string sections. The anechoic recordings used in this investigation are five-channel recordings, which capture the source directivity of the individual instruments. For each string section, the individual anechoic recordings were phase shifted several times, up to 23 ms, and combined to create a single recording for use in the simulations. An orchestra was simulated in …
Room Acoustics Computer Modeling: Study Of The Effect Of Source Directivity On Auralizations, Michelle C Vigeant, Lily M. Wang, Jens Holger Rindel
Room Acoustics Computer Modeling: Study Of The Effect Of Source Directivity On Auralizations, Michelle C Vigeant, Lily M. Wang, Jens Holger Rindel
Lily M Wang
Auralizations are very useful in the design of performing arts spaces, where auralization is the process of rendering audible the sound field in a space, in such a way as to simulate the binaural listening experience at a given position in the modeled space. One of the fundamental modeling inputs to create auralizations is the source directivity. Standard methods involve inputting the measured source directivity, calculating the impulse response and convolving it with a single channel anechoic recording. An initial study was conducted using this method and the results showed significant differences in reverberation time and clarity index when using …
Objective And Subjective Evaluation Of The Use Of Directional Sound Sources In Auralizations, Lily M. Wang, Michelle C Vigeant
Objective And Subjective Evaluation Of The Use Of Directional Sound Sources In Auralizations, Lily M. Wang, Michelle C Vigeant
Lily M Wang
Omni-directional sources are often used in room acoustic computer simulations, as opposed to directional sources, since measured directivity data are quite limited and difficult to obtain. The purpose of this study is to investigate the objective and subjective significance of adding more complex directivity to the sources used in computer simulations and auralizations. A simple hall was used as the modelled space in the software program ODEON. Three source positions on stage and three receiver audience positions were chosen. Impulse responses (IRs) were calculated for the nine source/receiver combinations, using (a) an omni-directional source, (b) a highly directional source beaming …
Multi-Channel Orchestral Anechoic Recordings For Auralizations, Michelle C. Vigeant, Lily M. Wang, Jens Holger Rindel, Claus Lynge Christensen, Anders Christian Gade
Multi-Channel Orchestral Anechoic Recordings For Auralizations, Michelle C. Vigeant, Lily M. Wang, Jens Holger Rindel, Claus Lynge Christensen, Anders Christian Gade
Durham School of Architectural Engineering and Construction: Faculty Publications
Multi-channel orchestral anechoic recordings were obtained at the Technical University of Denmark (DTU) in June 2005. Every orchestral part of specific movements of two symphonies, Brahms’ Symphony No. 4, 3rd movement, and Mozart’s Symphony No. 40 in g minor, 1st movement, were digitally recorded using five 0.5” DPA microphones, with four surrounding the musicians in the horizontal plane and the fifth directly above. The recordings were made in DTU’s large anechoic chamber, which has free space of about 1000 m3 and a lower frequency limit of 50 Hz. Each musician was recorded individually, and to assist with overall synchronization of …
Investigations Of Multi-Channel Auralization Technique For Various Orchestra Arrangements, With Phase-Shifted String Sections, Michelle C Vigeant, Lily M. Wang
Investigations Of Multi-Channel Auralization Technique For Various Orchestra Arrangements, With Phase-Shifted String Sections, Michelle C Vigeant, Lily M. Wang
Durham School of Architectural Engineering and Construction: Faculty Publications
An orchestra can be simulated in room acoustics computer modelling using a variety of methods, ranging from a single omni-directional source to individual sources of all instruments. This study utilizes the method of individual sources for each instrument, but with reduced source representation for the string sections. The anechoic recordings used in this investigation are five-channel recordings, which capture the source directivity of the individual instruments. For each string section, the individual anechoic recordings were phase shifted several times, up to 23 ms, and combined to create a single recording for use in the simulations. An orchestra was simulated in …
Effects Of Changing The Amount Of Absorption In A Computer Model Of Queen’S Hall, Copenhagen, Denmark, Michelle C Vigeant, Lily M. Wang, Jens Holger Rindel
Effects Of Changing The Amount Of Absorption In A Computer Model Of Queen’S Hall, Copenhagen, Denmark, Michelle C Vigeant, Lily M. Wang, Jens Holger Rindel
Durham School of Architectural Engineering and Construction: Faculty Publications
Room acoustics modelling and auralizations are very useful tools in the design of acoustically sensitive spaces. One area of improvement for auralizations is the method of modelling the source directivity. A new method to incorporate source directivity is multi-channel auralizations. This study first evaluates the objective effects of using four and thirteen channel impulse responses in an ODEON model of Queen’s Hall, where the actual variable absorption is changed within the model. Analyses of the results reveal great differences in the objective parameters of reverberation time and sound pressure level across each channel’s impulse response. Subjective studies were then conducted …
Room Acoustics Computer Modeling: Study Of The Effect Of Source Directivity On Auralizations, Michelle C Vigeant, Lily M. Wang, Jens Holger Rindel
Room Acoustics Computer Modeling: Study Of The Effect Of Source Directivity On Auralizations, Michelle C Vigeant, Lily M. Wang, Jens Holger Rindel
Durham School of Architectural Engineering and Construction: Faculty Publications
Auralizations are very useful in the design of performing arts spaces, where auralization is the process of rendering audible the sound field in a space, in such a way as to simulate the binaural listening experience at a given position in the modeled space. One of the fundamental modeling inputs to create auralizations is the source directivity. Standard methods involve inputting the measured source directivity, calculating the impulse response and convolving it with a single channel anechoic recording. An initial study was conducted using this method and the results showed significant differences in reverberation time and clarity index when using …
Objective And Subjective Evaluation Of The Use Of Directional Sound Sources In Auralizations, Lily M. Wang, Michelle C Vigeant
Objective And Subjective Evaluation Of The Use Of Directional Sound Sources In Auralizations, Lily M. Wang, Michelle C Vigeant
Durham School of Architectural Engineering and Construction: Faculty Publications
Omni-directional sources are often used in room acoustic computer simulations, as opposed to directional sources, since measured directivity data are quite limited and difficult to obtain. The purpose of this study is to investigate the objective and subjective significance of adding more complex directivity to the sources used in computer simulations and auralizations. A simple hall was used as the modelled space in the software program ODEON. Three source positions on stage and three receiver audience positions were chosen. Impulse responses (IRs) were calculated for the nine source/receiver combinations, using (a) an omni-directional source, (b) a highly directional source beaming …