AES New York 2019
Poster Session P12
P12 - Posters: Room Acoustics
Thursday, October 17, 3:00 pm — 4:30 pm
P12-1 Transparent Office Screens Based on Microperforated Foil—Krzysztof Brawata, Gorycki&Sznyterman Sp. z o.o. - Cracow, Poland; Katarzyna Baruch, Gorycki&Sznyterman Sp. z o.o. - Cracow, Poland; Tadeusz Kamisinski, AGH University of Science and Technology - Cracow, Poland; Bartlomiej Chojnacki, AGH University of Science and Technology - Cracow, Poland; Mega-Acoustic - Kepno, Poland
In recent years, providing comfortable working conditions in open office spaces has become a growing challenge. The ever-increasing demand for office work implies the emergence of ever new spaces and the need to use available space, which generates the need for proper interior design. There are many acoustic solutions available on the market that support the acoustic comfort in office spaces by ensuring appropriate levels of privacy and low levels of acoustic background. One of such solutions are desktop screens, which divide employees' space. These solutions are based mainly on sound absorbing materials, i.e., mineral wool, felt, as well as sound insulating ones, such as glass or MDF. The article presents methods of using microperforated foils for building acoustic screens. The influence of dimensions and parameters of microperforated foil were examined. The method of its assembly as well as the use of layered systems made of microperforated foil and sound insulating material were also considered in this paper.
Convention Paper 10282
P12-2 A Novel Spatial Impulse Response Capture Technique for Realistic Artificial Reverberation in the 22.2 Multichannel Audio Format—Jack Kelly, McGill University - Montreal, QC, Canada; Richard King, McGill University - Montreal, Quebec, Canada; The Centre for Interdisciplinary Research in Music Media and Technology - Montreal, Quebec, Canada; Wieslaw Woszczyk, McGill University - Montreal, QC, Canada
As immersive media content and technology begin to enter the marketplace, the need for truly immersive spatial reverberation tools takes on a renewed significance. A novel spatial impulse response capture technique optimized for the 22.2 multichannel audio format is presented. The proposed technique seeks to offer a path for engineers who are interested in creating three-dimensional spatial reverberation through convolution. Its design is informed by three-dimensional microphone techniques for the channel-based capture of acoustic music. A technical description of the measurement system used is given. The processes by which the spatial impulse responses are captured and rendered, including deconvolution and loudness normalization, are described. Three venues that have been measured using the proposed technique are presented. Preliminary listening sessions suggest that the array is capable of delivering a convincing three-dimensional reproduction of several acoustic spaces with a high degree of fidelity. Future research into the perception of realism in spatial reverberation for immersive music production is discussed.
Convention Paper 10283
P12-3 Impulse Response Simulation of a Small Room and in situ Measurements Validation—Daniel Núñez-Solano, University of Las Américas - Quito, Ecuador; Virginia Puyana-Romero, University of Las Américas - Quito, Ecuador; Cristian Ordóñez-Andrade, University of Las Américas - Quito, Ecuador; Luis Bravo-Moncayo, Universidad de Las Américas - Quito, Ecuador; Christiam Garzón-Pico, Universidad de Las Américas - Quito, Ecuador
The study of reverberation time in room acoustics presents certain drawbacks when dealing with small spaces. In order to reduce the inaccuracies due to the lack of space for placing measurement devices, finite element methods become a good alternative to support measurement results or to predict the reverberation time on the bases of calculating impulse responses. This paper presents a comparison of the reverberation time obtained by means of in situ and simulated impulse responses. The impulse response is simulated using time-domain finite elements methods. The used room for measurements and simulations is a control room of Universidad de Las Americas. Results show a measured mean absolute error of 0.04 s compared to the computed reverberation time.
Convention Paper 10284
P12-4 Calculation of Directivity Patterns from Spherical Microphone Array Recordings—Carlotta Anemüller, International Audio Laboratories Erlangen - Erlangen, Germany; Jürgen Herre, International Audio Laboratories Erlangen - Erlangen, Germany; Fraunhofer IIS - Erlangen, Germany
Taking into account the direction-dependent radiation of natural sound sources (such as musical instruments) can help to enhance auralization processing and thus improves the plausibility of simulated acoustical environments as, e.g., found in virtual reality (VR) systems. In order to quantify this direction-dependent behavior, usually so-called directivity patterns are used. This paper investigates two different methods that can be used to calculate directivity patterns from spherical microphone array recordings. A comparison between both calculation methods is performed based on the resulting directivity patterns. Furthermore, the directivity patterns of several musical instruments are analyzed and important measures are extracted. For all calculations, the publicly available anechoic microphone array measurements database recorded at the Technical University Berlin (TU Berlin) was used.
Convention Paper 10285