Wyniki wyszukiwania - BazTech

1

Virtual Acoustics at the Service of Music Performance and Recording

Woszczyk W., Ko D., Leonard B.

Archives of Acoustics

|

2012

|

Vol. 37, No. 1

109-113

EN

Virtual or active acoustics refers to the generation of a simulated room response by means of elec- troacoustics 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 in- terface, 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.

2

Active Acoustics in Concert Halls - A New Approach

Woszczyk W.

Archives of Acoustics

|

2011

|

Vol. 36, No. 2

379-393

EN

Active acoustics offers potential benefits in music halls having acoustical shortcomings and is a relatively inexpensive alternative to physical modifications of the enclosures. One critical benefit of active architecture is the controlled variability of acoustics. Although many improvements have been made over the last 60 years in the quality and usability of active acoustics, some problems still persist and the acceptance of this technology is advancing cautiously. McGill’s Virtual Acoustic Technology (VAT) offers new solutions in the key areas of performance by focusing on the electroacoustic coupling between the existing room acoustics and the simulation acoustics. All control parameters of the active acoustics are implemented in the Space Builder engine by employing multichannel parallel mixing, routing, and processing. The virtual acoustic response is created using low-latency convolution and a three-way temporal segmentation of the measured impulse responses. This method facilitates a sooner release of the virtual room response and its radiation into the surrounding space. Field tests are currently underway at McGill University involving performing musicians and the audience in order to fully assess and quantify the benefits of this new approach in active acoustics.

3

Virtual acoustics : opportunities and limits of spatial sound reproduction

Vorländer M.

Archives of Acoustics

|

2008

|

Vol. 33, No. 4

413-422

EN

Virtual Acoustics is part of the emerging field of "Virtual Reality". The technology for creating a Virtual Reality, VR, for wide variety of applications in university and industry has been developed in the last decade. Mostly VR is understood as a tool for 3D visualization, rather than for spatial audio or room acoustics. Nevertheless an important requirement of VR is the multimodal approach which includes vision, sound, tactile and haptic stimuli. The process of creating a physical stimulus based on computer data is called "rendering". The development of rendering and reproduction of acoustic stimuli in VR is now at a stage where integration of 3D sound is feasible by using PCs. This applies to multi-channel binaural synthesis as well as to full room-acoustic simulation algorithms and to various applications of 3D sound stimuli for audiology, neuropsychology or any other application in acoustics and noise control.

4

Spatial audio reproduction by headphones using binaural room impulse responses measured individually by the listener

Mickiewicz W., Sawicki J.

Pomiary Automatyka Kontrola

|

2007

|

R. 53, nr 6

30-33

EN

Listening via headphones in opposition to a loudspeaker reproduction introduces changes in the perception of acoustic atmosphere and spaciousness (internalisation effect). This can be changed using the Head Related Transfer Function (HRTF) technology. In the paper there is presented an idea of the headphones processor which uses an individualized Binaural Room Impulse Response (BRIR) measured for a given listener and for a given acoustical environment. There is investigated the influence on the performance of the individualized headphones processor of acoustical properties of the room, length of the BRIR and electroacoustical chain quality. The main goal of this research was to evaluate the minimum requirements, which have to be fulfilled by the processing algorithm to obtain a good subjective performance.

PL

Odsłuch słuchawkowy w porównaniu z odsłuchem przez głośniki wprowadza zmiany w postrzeganej atmosferze akustycznej i przestrzenności nagrania (efekt internalizacji). Można to zmienić korzystając z technologii HRTF (ang. Head Related Transfer Function). W niniejszym artykule przedstawiono koncepcję procesora słuchawkowego wykorzystującego dwuuszne odpowiedzi impulsowe pomieszczenia (BRIR) mierzone w konkretnym pomieszczeniu odsłuchowym przez końcowego użytkownika systemu. Przeprowadzono badania dotyczące wpływu akustyki pomieszczenia, długości użytych BRIR i jakości elektroakustycznego toru pomiarowego na skuteczność działania procesora. Głównym celem tych badań było określenie minimalnych wymagań, jakie musi spełnić proponowany algorytm, aby zapewnić zadowalające efekty subiektywne.