At low frequencies, where wavelengths of sound waves are comparable to the physical dimensions of the enclosing rooms, room modes contribute to several audible artefacts due to pressure irregularities and extended decay times at specific frequencies. While careful selection of room dimensions and layouts help minimise their audibility at some listening positions[1]–[3], multiple room modes may still be simultaneously excited to varying degrees. Common acoustic treatments, such as absorbers and diffusors, are often impractical in this frequency range due to their size and operating range limitations. As a result, acoustic technologies, such as room equalisation and room correction, are popular choices for mitigating the detrimental effects of low-frequency room modes in professional and domestic spaces alike.
{"title":"MULTI-DOMAIN ANALYSES OF ACOUSTIC ROOM CORRECTION SYSTEMS","authors":"P. Thakkar","doi":"10.25144/14688","DOIUrl":"https://doi.org/10.25144/14688","url":null,"abstract":"At low frequencies, where wavelengths of sound waves are comparable to the physical dimensions of the enclosing rooms, room modes contribute to several audible artefacts due to pressure irregularities and extended decay times at specific frequencies. While careful selection of room dimensions and layouts help minimise their audibility at some listening positions[1]–[3], multiple room modes may still be simultaneously excited to varying degrees. Common acoustic treatments, such as absorbers and diffusors, are often impractical in this frequency range due to their size and operating range limitations. As a result, acoustic technologies, such as room equalisation and room correction, are popular choices for mitigating the detrimental effects of low-frequency room modes in professional and domestic spaces alike.","PeriodicalId":186129,"journal":{"name":"Reproduced Sound 2022","volume":"44 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-02-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114855406","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"COMPARISON OF SPLMAX USING AES75 AND MULTITONE DISTORTION (MTD) METHODS","authors":"J. Hipperson","doi":"10.25144/14150","DOIUrl":"https://doi.org/10.25144/14150","url":null,"abstract":"","PeriodicalId":186129,"journal":{"name":"Reproduced Sound 2022","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125186667","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"STANDING ON THE SHOULDERS OF GIANTS PETER BARNETT MEMORIAL LECTURE","authors":"G. Leembruggen","doi":"10.25144/14147","DOIUrl":"https://doi.org/10.25144/14147","url":null,"abstract":"","PeriodicalId":186129,"journal":{"name":"Reproduced Sound 2022","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126233669","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
There are many situations where it is desirable to be able to ef fectively sculpt sound waves or convert them from one shape to another. For example, professional audio line array loudspeakers of ten include waveguides intended to receive plane waves f rom one or more compression drivers at circular apertures and produce near plane waves at the waveguide mouth, which is of ten slot-like. The acoustical design of such wave shaping waveguides is complex. Achieving high ef f iciency and precise directivity control, while also minimizing acoustical resonance and response irregularity , is extremely challenging. But this complex design problem has considerable application in the audio industry , and many contrasting approaches are seen in dif ferent products1,2.
{"title":"METRIC BASED DEVELOPMENT OF ACOUSTIC LENSES AND WAVEGUIDES","authors":"LT MacDonald, J. Oclee-Brown, J. Hargreaves","doi":"10.25144/14152","DOIUrl":"https://doi.org/10.25144/14152","url":null,"abstract":"There are many situations where it is desirable to be able to ef fectively sculpt sound waves or convert them from one shape to another. For example, professional audio line array loudspeakers of ten include waveguides intended to receive plane waves f rom one or more compression drivers at circular apertures and produce near plane waves at the waveguide mouth, which is of ten slot-like. The acoustical design of such wave shaping waveguides is complex. Achieving high ef f iciency and precise directivity control, while also minimizing acoustical resonance and response irregularity , is extremely challenging. But this complex design problem has considerable application in the audio industry , and many contrasting approaches are seen in dif ferent products1,2.","PeriodicalId":186129,"journal":{"name":"Reproduced Sound 2022","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133125924","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"ACOUSTIC DESIGN OF A NON-ENVIRONMENT CONTROL ROOM FOR TEACHING","authors":"G. Leembruggen, A. HANRAHAN-TAN, O. Fong","doi":"10.25144/14146","DOIUrl":"https://doi.org/10.25144/14146","url":null,"abstract":"","PeriodicalId":186129,"journal":{"name":"Reproduced Sound 2022","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124372685","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The focus of this study will be on the use of reverberation in post-production for a live music recording. Reverberation will be captured of the venue the live music was recorded in, using Stereo, AmbisonicBinaural, and Binaural Dummy Head IRs (Impulse Response) of the venue and convolved with appropriate elements of the live music mix. Listeners will be asked to provide their preference of reverberation applied to various examples of the material.
{"title":"LISTENER PREFERENCE OF REVERBERATION IN THE POST-PRODUCTION OF LIVE MUSIC RECORDINGS","authors":"KI Liston","doi":"10.25144/14151","DOIUrl":"https://doi.org/10.25144/14151","url":null,"abstract":"The focus of this study will be on the use of reverberation in post-production for a live music recording. Reverberation will be captured of the venue the live music was recorded in, using Stereo, AmbisonicBinaural, and Binaural Dummy Head IRs (Impulse Response) of the venue and convolved with appropriate elements of the live music mix. Listeners will be asked to provide their preference of reverberation applied to various examples of the material.","PeriodicalId":186129,"journal":{"name":"Reproduced Sound 2022","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122433405","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The methods by which engineers, designers and planners make decisions is by using experience, based on evidence and their perception of the information presented to them. Tools have been produced to create experiences that help better inform a design decision, by enabling greater engagement and participation in the design process. These tools aim to recreate an environment as accurately as possible, as it has been shown that the smaller the gap between expectations and actual experience, the more effective the design [1].
{"title":"THE ARUP EXPERIENCELAB","authors":"Arup Experiencelab, C. Ferreira","doi":"10.25144/14144","DOIUrl":"https://doi.org/10.25144/14144","url":null,"abstract":"The methods by which engineers, designers and planners make decisions is by using experience, based on evidence and their perception of the information presented to them. Tools have been produced to create experiences that help better inform a design decision, by enabling greater engagement and participation in the design process. These tools aim to recreate an environment as accurately as possible, as it has been shown that the smaller the gap between expectations and actual experience, the more effective the design [1].","PeriodicalId":186129,"journal":{"name":"Reproduced Sound 2022","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116646252","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
B. Scott, D. Wallace, M. Simon, R. Grilli, F. Fazi
Cross talk cancelation (CTC) allows speaker systems to produce binaural audio. This allows rendering of immersive 3D audio that conventionally can only be consumed using headphones. Soundbars suited to CTC as well as small speaker systems such as those found in laptops are many times restricted by size and cost, which lead to a reduced bass response because of small speaker drivers. CTC capability also diminishes with decreasing frequency, which leads to overall poor performance at low frequency. Virtual bass expansion (VBE) systems have been developed to extend the bandwidth of such speakers by use of the ‘missing fundamental’ psychoacoustic effect. VBE has been used successfully in car audio systems as well as in phones and laptop speakers [1] [2]. Audio producers can also benefit from commercially available VBE plugins [3].
{"title":"VIRTUAL BASS EXPANSION FOR CROSS-TALK CANCELLATION SYSTEMS","authors":"B. Scott, D. Wallace, M. Simon, R. Grilli, F. Fazi","doi":"10.25144/14143","DOIUrl":"https://doi.org/10.25144/14143","url":null,"abstract":"Cross talk cancelation (CTC) allows speaker systems to produce binaural audio. This allows rendering of immersive 3D audio that conventionally can only be consumed using headphones. Soundbars suited to CTC as well as small speaker systems such as those found in laptops are many times restricted by size and cost, which lead to a reduced bass response because of small speaker drivers. CTC capability also diminishes with decreasing frequency, which leads to overall poor performance at low frequency. Virtual bass expansion (VBE) systems have been developed to extend the bandwidth of such speakers by use of the ‘missing fundamental’ psychoacoustic effect. VBE has been used successfully in car audio systems as well as in phones and laptop speakers [1] [2]. Audio producers can also benefit from commercially available VBE plugins [3].","PeriodicalId":186129,"journal":{"name":"Reproduced Sound 2022","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129743277","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper is a report of the progressive hearing degradation as it affected the author’s perception whilst working as a designer of recording studios and loudspeaker systems. The many symptoms include presbycusis, tinnitus, and loudness recruitment, together with some strange perceptions of non-linear distortion. The implications are far-ranging because all forms of reproduced sound are ultimately assessed by people’s ears, even though it can be difficult to fully imagine the changes to perception until they occur. However, once experienced, it also becomes clear that the changes are idiosyncratic, with the combinations affecting no two people in exactly the same way. Furthermore, only once experienced does it become obvious that referring many reproduction standards to ‘normal’ hearing parameters may be short-changing a large proportion of the population, because what is ‘average’ may not be representative of any majority.
{"title":"HEARING DEGRADATION - A PERSONAL ACCOUNT","authors":"P. Newell","doi":"10.25144/14154","DOIUrl":"https://doi.org/10.25144/14154","url":null,"abstract":"This paper is a report of the progressive hearing degradation as it affected the author’s perception whilst working as a designer of recording studios and loudspeaker systems. The many symptoms include presbycusis, tinnitus, and loudness recruitment, together with some strange perceptions of non-linear distortion. The implications are far-ranging because all forms of reproduced sound are ultimately assessed by people’s ears, even though it can be difficult to fully imagine the changes to perception until they occur. However, once experienced, it also becomes clear that the changes are idiosyncratic, with the combinations affecting no two people in exactly the same way. Furthermore, only once experienced does it become obvious that referring many reproduction standards to ‘normal’ hearing parameters may be short-changing a large proportion of the population, because what is ‘average’ may not be representative of any majority.","PeriodicalId":186129,"journal":{"name":"Reproduced Sound 2022","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127306687","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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