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Critical listening to simulated sound fields in rooms and spaces can be done using auralizations. We may assess the rooms, and different audienceand performer positions, by just listening to the models, or to the finished space by playing back recordings in them. This procedure is very similar to the everyday listening to music, or the radio, at home, in the car, at music, theatre or dance venues. Also many, if not most, performances today are done by the use of amplification of sound sources played back in the same room or outdoor venue.
Performing arts
Electronic dance music
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This chapter contains sections titled: 1.1 Sounding Objects in Pre-Twentieth-Century Everyday Life, 1.2 A Luxurious Silence: The Early Days of Car Sound Design, 1.3 Listening to the Engine: Car Sound as Source of Information, 1.4 A Smart Sound: Car Sound Design Today, 1.5 Conclusions, Notes, References
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Soundscape study methods were applied to a band rehearsal room to understand the acoustical issues involved in this situation. A taxonomy of sound sources, direct observation to identify the specific sonic events and the multiple source and receiver paths involved in the complex listening and performing tasks that occur during band rehearsals were identified. It was found that students spend almost 1/2 of their rehearsal time involved with verbal instruction and discussion. Interviews with conductors and questionnaires administered to music students in three different band rooms were used to determine what musicians are listening for during rehearsals. Source and receiver combinations for physical acoustical measurements were located to study the multiple listening tasks identified in the questionnaires. Musicians were constantly trying to “hear each other” for intonation, rhythm, dynamics, articulation, and tone quality during rehearsals. Statistical models linking the qualitative results of the questionnaires with the acoustical measurements and architectural features of the rooms show that the ceiling height, room volume, area of sound diffusing surfaces, low frequency sound level, early reflected sound energy, and reverberation were related to the ability of musicians to hear each other and the detailed attributes of music.
Soundscape
Intonation
Articulation (sociology)
Room acoustics
Ceiling (cloud)
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Multi-channel audio recording, for playback in ambisonic format, is common when documenting a newly completed auditorium or an existing auditorium to be renovated. These recordings provide opportunities for comparative listening of different auditoria, and also between an acoustical model and the built auditorium. To allow meaningful comparison, recordings have been made using the same musicians playing the same musical excerpts on the same instruments. Anechoic recordings made similarly are used for convolution with synthetic (modelled) impulse responses. Comparative listening experience has yielded a number of lessons for acoustical design of auditoria and for acoustical modeling in design, including (a) the importance of instrument directivity to the sound of music in an auditorium, and perceptual responses to variations thereof, (b) the importance and challenge of loudness calibration during comparative listening, (c) inter-dependency of room size, perceived intensity and distribution of reverberation, and source directivity, (d) limitations in typical geometric acoustical modeling techniques, and (e) usefulness of directive loudspeakers when acquiring measured impulse responses for the purpose of convolving with anechoic audio. The process and results of these efforts will be presented and discussed. Selected listening segments will be available following the presentation.
Anechoic chamber
Room acoustics
Impulse response
Ambisonics
Directivity
Architectural acoustics
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Ambisonics
Realization (probability)
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In this paper we present an installation done in collaboration with Volvo Cars® for the international motor shows in Geneva, New York, and Shanghai during spring 2017. To envision and produce a future car sound for silent vehicles, users were given high-level control of a sophisticated synthesizer through playing with an attainable and inviting "color book"-inspired interface. The synthesizer algorithm was designed to dynamically create a rich mix of looped sounds that could blend with a sonic background scenery that had ecoacoustic validity, and that could metaphorically align with the visual elements. The installation ran faultlessly for around thirty days and with tens of thousands recorded sessions.
Interface (matter)
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The requirement in the sound quality and features of the sound amplication system in holding activities in gymnasium are described. In terms of the frequency characteristics of the human sound and the musical instruments sound, the ways to adjust and to control the sound amplication effects in different occasions are explained in details.
Sound Quality
Sound system
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