Why do concert halls sound different – and how can we design为什么音乐厅会有不同的声音我们如何设计.pptVIP

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Why do concert halls sound different – and how can we design为什么音乐厅会有不同的声音我们如何设计.ppt

Why do concert halls sound different – and how can we design为什么音乐厅会有不同的声音我们如何设计

Localization The figure shows the number of times per second that a solo violin can be localized from row 4 of a small shoebox hall (~500 seats) near Helsinki. It also shows the perceived azimuth of the violin As can be seen, the localization – achieved at the onsets of notes – is quite good, and the azimuth, ~10 degrees to the left of center, is accurate. Localization – surface1 Here we plot the same data for the violin as a function of (inverse) azimuth, and the third octave frequency band. As can be seen, for this instrument the principle localization components come at about 1300Hz. Interestingly, Human ability to detect azimuth, as shown in the threshold data, may be maximum at this frequency. Localization, Surface 2 Here we plot 1/(1-IACC) as a function of time and third octave band. Note that the IACC peaks at the onset of notes can have quite high values for a brief time. This happens when there is sufficient delay between the direct and the reverberation, and sufficient D/R. Localization – a poor seat Here is a similar diagram for a solo violin in row 11 of the same hall. The sound here is unclear, and the localization of the violin is poor. As can be seen, the number of localizations per second is low (in this case the value really depends on the setting of the threshold in the software). Perhaps more tellingly, the azimuth detected seems random. This is really just noise, and is perceived as such. Measures based on harmonic coherence In the absence of reflections the formant frequencies above 1000Hz are amplitude modulated by the phase coherence of the upper harmonics. This modulation is easily heard, creating the perception of “roughness” (Zwicker). Reflections randomize the phase of these harmonics. The result is highly audible, and is a primary cue for the distance of an actor, singer, or soloist. This effect can be measured with live recordings, and is sensitive both to medial and lateral reflections. This graph shows the frequency and amplitud

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