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Aalborg Universitet Grafting Acoustic Instruments and Signal Processing: Creative Control and Augmented Expressivity Overholt, D Aalborg Universitet Grafting Acoustic Instruments and Signal Processing: Creative Control and Augmented Expressivity Overholt, Daniel; Freed, Adrian Publication date: 2013 Document Version Early version, also known as pre-print Link to publication from Aalborg University Citation for published version (APA): Overholt, D., & Freed, A. (2013). Grafting Acoustic Instruments and Signal Processing: Creative Control and Augmented Expressivity. Abstract from 166th Meeting of the Acoustical Society of America, San Francisco, United States. http://acousticalsociety.org/content/program-166th-meeting-acoustical-society-america General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. ? Users may download and print one copy of any publication from the public portal for the purpose of private study or research. ? You may not further distribute the material or use it for any profit-making activity or commercial gain ? You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us at [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Downloaded from vbn.aau.dk on: September 26, 2021 MONDAY MORNING, 2 DECEMBER 2013 GOLDEN GATE 4/5, 9:00 A.M. TO 11:45 A.M Session 1aAA Architectural Acoustics: General Topics in Architectural Acoustics 1a MON. AM Steven D. Pettyjohn, Chair The Acoustics & Vibration Group, Inc., 5700 Broadway, Sacramento, CA 95820 Contributed Papers 9:00 mechanisms allows us to predict how this ability is lost in the presence of reflections and noise, and to predict a number of ways that real clarity can 1aAA1. Toward reliable metrics for Sacred Harp singing spaces. be measured and optimized in classrooms, lecture halls, and performance Benjamin J. Copenhaver, Scott J. Schoen, and Michael R. Haberman venues of all types. This paper will describe and demonstrate how reflec- (Mech. Eng. Dept. and Appl. Res. Labs., The Univ. of Texas at Austin, P.O. tions degrade the closeness or clarity of sounds, and how this degradation Box 8029, Austin, TX 78713-8029, [email protected]) can be prevented or ameliorated. Examples of old and new spaces with ei- Sacred Harp singing, a common type of shape-note singing, is a centu- ther excellent or poor clarity will be presented, along with a few examples ries-old tradition of American community choral music. It is traditionally a of recent improvements to existing halls. participatory form of music with no distinction between performers and au- dience, a characteristic that makes for acoustical requirements that differ 09:45 considerably from those of a concert hall or even a typical worship space. In the spirit of the text Concert Halls and Opera Houses by L. Beranek, we 1aAA4. The maximum intelligible range of the unamplified human seek to correlate acoustical measurements of spaces used for Sacred Harp voice. Braxton B. Boren and Agnieszka Roginska (Music, New York Univ., singing with subjective evaluations of those spaces made by the singers 35 W. 4th St., New York, NY, [email protected]) themselves. To achieve this, measurements of reverberation time and sup- The Anglican preacher George Whitefield preached to some of the larg- port factor of each space are coupled with participant surveys in 10 different est reported crowds in recent history during the Methodist revivals in 18th Sacred Harp singing locations. Those measurements are then examined for century London. Benjamin Franklin later performed an auditory experiment their applicability as metrics for evaluation of Sacred Harp performance in Philadelphia from which he estimated Whitefield could be heard by spaces. In addition, various measurement techniques for this type of space 30,000 listeners at once. Using the data from Franklin’s experiment and are explored and reported. acoustic model of colonial Philadelphia, Whitefield’s on-axis averaged 9:15 sound pressure level at one meter has been calculated to be about 90 dBA, consistent with the loudest values measured from trained vocalists today. 1aAA2. The effect of two different rooms on acoustical and perceptual Using period maps and topological data, acoustic models have been con- measures of mixed choir sound. Kathryn S. Hom (1623 Alcatraz Ave. Apt. structed of the sites of Whitefield’s largest crowds in London, using a D, Berkeley, CA 94703, [email protected]) human voice source with the projected SPL for Whitefield’s preaching voice. Based on the total audience area whose speech transmission index The purpose of this study was to explore the effect of two different value is greater than that at Franklin’s position in the Philadelphia experi- rooms (choir rehearsal room, performance hall) on acoustical (LTAS, one- ment, the total intelligible audience area can be calculated. Using Franklin’s third octave bands) and perceptual (singer [N ¼ 11] survey, listener [N ¼ own crowd density calculations, this method allows estimates of the maxi- 33] survey, and Pitch Analyzer 2.1) measures of soprano, alto, tenor, and mum amount of listeners that could hear Whitefield’s voice under different bass (SATB) choir sound. Primary findings of this investigation indicated: environmental conditions and provides a better maximum estimate for the (a) significant differences in spectral energy comparisons of choir sound free-field intelligible range of the unamplified human voice. between rooms, (b) choristers’ perceptions of hearing and monitoring their own voices differed significantly depending on room, (c) most choristers (82%) perceived that the choir performed best within the Performance Hall, 10:00 (d) perceived pitch of selected sung vowels within recordings differed sig- 1aAA5. Headphone- and loudspeaker-based concert hall auralizations nificantly based on room conditions, (e) 97% of listeners perceived a differ- and their effects on listeners’ judgments. Samuel Clapp (Graduate Pro- ence in choir sound between room recordings, and (f) most listeners (91%) gram in Architectural Acoust., Rensselaer Polytechnic Inst., 110 8th St., indicated preference for the Rehearsal Room recording. Troy, NY 12180, [email protected]), Anne E. Guthrie (Arup Acoust., New York, NY), Jonas Braasch, and Ning Xiang (Graduate Program in Architec- 9:30 tural Acoust., Rensselaer Polytechnic Inst., Troy, NY) 1aAA3. Measuring and optimizing clarity in large and small spaces. Room impulse responses were measured in a wide variety of concert David H. Griesinger (David Griesinger Acoustics, 221 Mt. Auburn St. #504, and recital halls throughout New York State using a spherical microphone Cambridge, MA 02138, [email protected]) array and dummy head as receivers. These measurements were used to cre- Psychologists know that sounds perceived as close to a listener hold ate auralizations for second-order ambisonic playback via a loudspeaker attention and are easier to parse and to remember than sounds perceived as array and headphone playback, respectively. The playback methods were further away. But current measures for clarity are blind to the vital impor- first evaluated objectively to determine how accurately they could reproduce tance of sonic closeness in the transfer of information in enclosed spaces. the measured soundfields with respect to spatial cues. Subjects were then Recent work in the neurology of the inner ear is illuminating the mecha- recruited for listening tests conducted with both reproduction methods and nisms by which the ear separates simultaneous sounds from separate sour- asked to evaluate the different spaces based on specific parameters and over- ces, as well as the “closeness” of each source. Knowledge of these all subjective preference. The results were examined in order to determine 3969 J. Acoust. Soc. Am., Vol. 134, No. 5, Pt. 2, November 2013 166th Meeting: Acoustical Society of America 3969 the degree to which judgments of the different parameters were affected by sonic booms. While previous research has demonstrated effects of noise the playback method. bursts of varying amplitudes on assorted cognitive tasks, more information is needed to indicate at what level and to what degree such noise bursts may 10:15–10:30 Break impact human performance and perception. It is also thought that the addi- tion of rattle, produced from the noise burst exciting assorted elements 10:30 inside the building, could prove more detrimental to human responses than noise bursts alone. Seventeen participants each completed twelve 30-min 1aAA6. The effect of using matched, but not individualized, head sessions during which they were subjected to controlled yet randomly occur- related transfer functions on the subjective evaluation of auralizations. ring 250 ms broadband noise bursts, either with or without a rattle compo- Matthew Neal and Michelle C. Vigeant (Graduate Program in Acoust., The nent, while completing an arithmetic task utilizing working memory. Four Penn State Univ., Appl. Sci. Bldg, University Park, PA 16802, mtn5048@ different levels of noise bursts, from 55 to 70 dBA, were tested; accompany- psu.edu) ing rattle components were set to be 4 dBA louder than the associated burst, Head related transfer functions (HRTFs) are a key component when cre- generated by a separate audio source. Results will be presented and com- ating auralizations used in subjective concert hall studies. An average pared to those from a similar test using just broadband noise bursts alone. HRTF, rather than an individualized HRTF, is often used when creating aur- [Work supported by a NASA Nebraska Space Grant.] alizations, which can lead to front-back ambiguity and reduced out-of-head sound localization. The goal of this study was to determine how the choice of HRTF can impact subjective impression of various concert hall acoustic qualities from auralizations. Using 10 HRTFs from the CIPIC database, the best and worst case HRTFs were determined for each test subject, based on 11:15 out-of-head localization.
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