DOCSLIB.ORG

Short Overview in Parametric Loudspeakers Array Technology And

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Short Overview in Parametric Loudspeakers Array Technology And International Computer Music Conference 2014, 2014. [4] J. Beskow and K. Sjölander, “WaveSurfer-a Short overview in parametric loudspeakers array public domain speech tool,” Proc. ICSLP 2000, technology and its implications in spatialization in electronic 2000. [5] T. Giannakopoulos, “pyAudioAnalysis: An music Open-Source Python Library for Audio Signal Analysis,” PLoS One, vol. 10, no. 12, p. Jaime Reis e0144610, Dec. 2015. INET-md (FCSH-UNL), Festival DME, Portugal [6] O. Lartillot and P. Toiviainen, “A Matlab toolbox [email protected] for musical feature extraction from audio,” Int. Conf. Digit. Audio …, 2007. [7] S. E. Meinard Müller, “Chroma Toolbox: MATLAB implementations for extracting computer as a source of musical sounds” [3], a variants of chroma-based audio features.” ABSTRACT text that then was mentioned by composers [8] E. Pampalk, “A Matlab Toolbox to Compute who changed the history of computer music, Music Similarity from Audio.,” ISMIR, 2004. such as John Chowning, as very promising [9] T. Park and Z. Li, “Not just prettier: FMS toolbox In late December of 1962, a Physics Professor ideas [4], who certainly influenced this and marches on,” Proc. ICMC 2009, 2009. from Brown University, Peter J. Westervelt, other composers. submitted a paper called Parametric Acoustic [10] T. H. Park, B. Miller, A. Shrestha, S. Lee, J. A relation between Westervelt Array [1] considered primary waves interacting Turner, and A. Marse, “Citygram One : discoveries and further developments in Visualizing Urban Acoustic Ecology,” in within a given volume and calculated the scattered pressure field due to the non-linearities parametric loudspeakers array technology were Proceedings of the Conference on Digital described by Croft and Norris [2], including Humanities 2012, 2012. within a small portion of this common volume in the medium [2]. Since then, many outputs of this the technological developments by different [11] C. Shamoon and T. Park, “New York City’s New technology were developed and applied in scientists and in different countries and how it Noise Code and NYU's Citygram-Sound contexts such as military, tomography, sonar has moved from theory and experimentation to Project,” in … -NOISE and NOISE-CON technology, artistic installations and others. implementation and application. Congress and …, 2014. Such technology allows perfect sound It’s important to clear that such [12] T. H. Park, J. Turner, J. You, J. H. Lee, and M. directionally and therefore peculiar expressive terminology isn’t fixed and that it’s possible to Musick, “Towards Soundscape Information techniques in electroacoustic music, allowing a find different definitions to similar projects Retrieval (SIR),” in International Computer very particular music dimension of space. For (commercial, scientific or of other nature), Music Conference Proceedings (ICMC), 2014. such reason, it’s here treated as a idiosyncrasy uses, products and implementations of such [13] T. H. Park, J. Turner, M. Musick, J. H. Lee, C. worth to discuss on its on terms. theoretical background, sometimes even by the Jacoby, C. Mydlarz, and J. Salamon, “Sensing In 2010-2011 I composed the piece "A same authors and in the same articles. Some of Urban Soundscapes,” in Workshop on Mining Anamnese das Constantes Ocultas", them being “parametric loudspeakers” [2], [5], Urban Data, 2014. commissioned by Grupo de Música “parametric speakers “ [6], [7], “parametric [14] C. Mydlarz, S. Nacach, T. Park, and A. Roginska, Contemporânea de Lisboa, that used a acoustic array” [1], [8], “parametric array” [5], “The design of urban sound monitoring devices,” parametric loudspeakers array developed by [7], “parametric audio system” [9], Audio Eng. Soc. …, 2014. engineer Joel Paulo. The same technology was “hypersonic sound” [10], “beam of sound” [1], used in the 2015 acousmatic piece “Jeux de “audible sound beams” [11], “superdirectional l'Espace” for eight loudspeakers and one sound beams” [12], “super directional parametric loudspeaker array. This paper is organized as follows. A loudspeaker” [13], “focused audio” [14], theoretical framework of the parametric “audio spotlight” [15], [16], “phased array loudspeaker array is first introduced, followed by sound system” [17], among others. The term a brief description of the main theoretical aspects PLA is being used here since it seems to of such loudspeakers. Secondly, there is a reunite the main concepts that converge in this description of practices that use such technology technology. Nevertheless, it isn’t meant to be and their applications. The final section presented as an improved terminology over describes how I have used it in my music others. This discussion solely has the purpose compositions. of showing that one who might not be familiar with such technology, and wish to research more about it, will find different terms that 1. Introduction were originated due to particular historical contexts, manufacturers patents and arbitrary The fundamental theoretical principles of a grounds. parametric loudspeaker array (PLA) were discovered and explained by Westervelt [1]. 2. Theoretical framework Interestingly, this was in the same year of the publication of an article by Max Mathews A parametric loudspeaker is guided by a where the author said there were “no principle described by Westervelt as: theoretical limits to the performance of the two plane waves of differing frequencies 240 Proceedings of the International Computer Music Conference 2016 Proceedings of the International Computer Music Conference 2016 241 generate, when traveling in the same direction, two not [12]. Such systems are quite peculiar, even Defining the application of PLA in performer’s neck like the strap for an new waves, one of which has a frequency equal to when compared to the so-called narrow artistic fields or within musical practices isn’t accordion player [38]. Other artists that have the sum of the original two frequencies and the coverage loudspeakers, that feature dispersion obvious. In that sense, Blacking clears that “no been using such technology relate to the other equal to the difference frequency [1]. in the 50 degree range, such as some Meyer musical style has ‘its own terms’: its terms are the DXARTS - Seattle Arts and Technology, such However, to trace a proper theoretical Speakers [21], and potentially have new terms of its society and culture, and of the bodies of as Michael McCrea Acoustic Scan [39] and framework of the parametric acoustic array in applications in many diverse fields. the human beings who listen to it, and create and Juan Pampin that have present in 2007, with modern applications, Gan et al. makes a more perform it" [27]. In such terms, is Hiroshi other colleagues, works that were using PLA clear description, based on Westervelt’s Mizoguchi human-machine interface (named technology as ultrasonic waveguides, as an theory: ‘Invisible Messenger’), that integrates real acoustic mirror and as wearable sound [40]. When two sinusoidal beams are radiated time visual tracking of face and sound beam Furthermore, Pampin has used PLA from an intense ultrasound source, a spectral forming by speaker array [28], an art work? technology in musical pieces such as 2014 component at the difference frequency is For the purpose of the present paper, secondarily generated along the beams due to the “Respiración Artificial”, for bandoneon, string Mizoguchi’s work will not be considered as an nonlinear interaction of the two primary waves. At quartet, and electronics using PLA, as he the same time, spectral components such as a sum- art form, since the authors don’t consider mentions in an interview: frequency component and harmonics are generated. themselves as doing art. As Bourdieu The piece is about breathing cycles. The However, only the difference-frequency component mentions, one may view the ‘eye’ as being a bandoneon has a big bellow and is able to hold a can travel an appreciable distance because sound product of history reproduced by education, note for a very long time. The timing of the inhale absorption is generally increased with frequency, being true for the mode of “artistic perception and exhale of the instrument was used to define the and amplitudes of higher-frequency components now accepted as legitimate, that is, the aesthetic time structure of the piece. The beginning of my decay greatly compared with the difference disposition, the capacity to consider in and for piece is all in the very upper register (above 1000 frequency. The secondary source column of the themselves, as form rather than function, not only Hertz, around the C above treble clef). When you difference frequency (secondary beam) is virtually hear up there, you hear in a different way. Your ear the work designated for such apprehension, i.e. created in the primary beam and is distributed along Figure 1. Comparison between hypothetical legitimate works of art, but everything in the world, is not able to resolve what is happening with pitch, a narrow beam, similar to an end-fire array reported dispersion patterns for a conventional loudspeaker including cultural objects which are not yet the notes tend to shimmer, it builds sensation. This in antenna theory. Consequently, the directivity of and for a PLA. consecrated” [29]. piece is all sensorial it’s not theoretical. Its more the difference-frequency wave becomes very For the purpose of the present paper, neurological if you want. In terms of the electronics, narrow. This generation model of the difference 3. Parametric
Load more

Recommended publications
  • 00 Title Page
    The Pennsylvania State University The Graduate School College of Arts and Architecture SPATIALIZATION IN SELECTED WORKS OF IANNIS XENAKIS A Thesis in Music Theory by Elliot Kermit-Canfield © 2013 Elliot Kermit-Canfield Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts May 2013 The thesis of Elliot Kermit-Canfield was reviewed and approved* by the following: Vincent P. Benitez Associate Professor of Music Thesis Advisor Eric J. McKee Associate Professor of Music Marica S. Tacconi Professor of Musicology Assistant Director for Graduate Studies *Signatures are on file in the School of Music ii Abstract The intersection between music and architecture in the work of Iannis Xenakis (1922–2001) is practically inseparable due to his training as an architect, engineer, and composer. His music is unique and exciting because of the use of mathematics and logic in his compositional approach. In the 1960s, Xenakis began composing music that included spatial aspects—music in which movement is an integral part of the work. In this thesis, three of these early works, Eonta (1963–64), Terretektorh (1965–66), and Persephassa (1969), are considered for their spatial characteristics. Spatial sound refers to how we localize sound sources and perceive their movement in space. There are many factors that influence this perception, including dynamics, density, and timbre. Xenakis manipulates these musical parameters in order to write music that seems to move. In his compositions, there are two types of movement, physical and apparent. In Eonta, the brass players actually walk around on stage and modify the position of their instruments to create spatial effects.
    [Show full text]
  • Prof. Peter Westervelt WHOI Ocean Acoustics Nov. 15, 2006
    Prof. Peter Westervelt WHOI Ocean Acoustics Nov. 15, 2006 PART 1 Intro-This is a weekly gathering of the Ocean Acoustics Laboratory; this is a part of the Department Applied Ocean Physics and Engineering here at the Institution. Of course this is a very special occasion; I'm very pleased to welcome you to our Institution. Glad to be here. Don't recognize it but I was here very early on, forty years ago, when they dedicated one of the labs. Intro-This is the first and the oldest of the buildings, we have of the order of sixty buildings at the Institution, but Bigelow Laboratory is the first, built in 1930 and apparently the donors, the Rockefeller Brothers, were later asked about the donation to the Institution and they expressed surprise, they didn't recall it, they didn't know why they were asked! The influence of Brown University has been genuinely profound in many ways, it continues to be and there was a celebration of Brown University Physics at the Acoustical Society of America meeting in Providence in June, quite a turn out. Of course the Physics Department is also a profound personal influence for several of us and many colleges that we work with also. Your work has already been described to the group. But, its actually been very enlightening to take a ramble through some of the literature you're responsible for concerned with scattering with sound by sound and parametric acoustic array, absorption of sound by sound. A favorite later theme of course was non-scattering of sound by sound.
    [Show full text]
  • Contribution of the Conditioning Stage to the Total Harmonic Distortion in the Parametric Array Loudspeaker
    Universidad EAFIT Contribution of the conditioning stage to the Total Harmonic Distortion in the Parametric Array Loudspeaker Andrés Yarce Botero Thesis to apply for the title of Master of Science in Applied Physics Advisor Olga Lucia Quintero. Ph.D. Master of Science in Applied Physics Science school Universidad EAFIT Medellín - Colombia 2017 1 Contents 1 Problem Statement 7 1.1 On sound artistic installations . 8 1.2 Objectives . 12 1.2.1 General Objective . 12 1.2.2 Specific Objectives . 12 1.3 Theoretical background . 13 1.3.1 Physics behind the Parametric Array Loudspeaker . 13 1.3.2 Maths behind of Parametric Array Loudspeakers . 19 1.3.3 About piezoelectric ultrasound transducers . 21 1.3.4 About the health and safety uses of the Parametric Array Loudspeaker Technology . 24 2 Acquisition of Sound from self-demodulation of Ultrasound 26 2.1 Acoustics . 26 2.1.1 Directionality of Sound . 28 2.2 On the non linearity of sound . 30 2.3 On the linearity of sound from ultrasound . 33 3 Signal distortion and modulation schemes 38 3.1 Introduction . 38 3.2 On Total Harmonic Distortion . 40 3.3 Effects on total harmonic distortion: Modulation techniques . 42 3.4 On Pulse Wave Modulation . 46 4 Loudspeaker Modelling by statistical design of experiments. 49 4.1 Characterization Parametric Array Loudspeaker . 51 4.2 Experimental setup . 52 4.2.1 Results of PAL radiation pattern . 53 4.3 Design of experiments . 56 4.3.1 Placket Burmann method . 59 4.3.2 Box Behnken methodology . 62 5 Digital filtering techniques and signal distortion analysis.
    [Show full text]
  • Directional Steering of Audio Signal Using Parametric Array in Air
    International Journal of Engineering Research & Technology (IJERT) ISSN: 2278-0181 Vol. 3 Issue 1, January - 2014 Directional Steering of Audio Signal Using Parametric Array in Air Sreedhu T Sasi, Anaswara V Nath, Archana V R College of Engineering,Cherthala Abstract directly on the wall without the need for a mechanical pan-and-tilt system. Directional Audio is very recent technology that creates . focused beams of sound .By projecting sound to one location, 2. Prior art specific listeners can be targeted with sound without other In 1963, Westervelt described how an audible nearby hearing it.The parametric loudspeaker provides an difference frequency signal is generated from two high- effective means of projecting sound in a highly directional frequency collimated beams of sound. These high- manner without using large loudspeaker arrays to form sharp frequency sound beams are commonly referred to as primary waves. The nonlinear interaction of primary directional beams.Development of parametric loudspeaker in waves in mediums (such as air and water) produces an many public places reduce noise pollution.Digital Signal end-fire array of virtual acoustics sources that is Processing plays a significant role in enhancing the aural referred to as the parametric array. The primary interest quality of the parametric loudspeakers,and array processing for the parametric array focuses on the difference- can help to shape and steer the beam electronic electronically. frequency signal that is being created along the axis of the main beam (or virtual end-fire array) at the speed of 1. Introduction sound. This phenomenon results in a sharp directional he controllable audible sound can greatly reduce sound beam of audible signal.
    [Show full text]
  • A Review of Parametric Acoustic Array In
    Applied Acoustics 73 (2012) 1211–1219 Contents lists available at SciVerse ScienceDirect Applied Acoustics journal homepage: www.elsevier.com/locate/apacoust A review of parametric acoustic array in air ⇑ Woon-Seng Gan a, , Jun Yang b, Tomoo Kamakura c a School of Electrical and Electronic Engineering, Nanyang Technological University, Singapore 639798, Singapore b The State Key Laboratory of Acoustics and the Key Laboratory of Noise and Vibration Research, Institute of Acoustics, Chinese Academy of Sciences, Beijing 100190, China c Department of Communication Engineering and Informatics, The University of Electro-Communications, 1-5-1 Chofugaoka, Chofu-shi, Tokyo 182-8585, Japan article info abstract Article history: In this review paper, we examine some of the recent advances in the parametric acoustic array (PAA) Available online 15 May 2012 since it was first applied in air in 1983 by Yoneyama. These advances include numerical modelling for nonlinear acoustics, theoretical analysis and experimentation, signal processing techniques, implementa- Keywords: tion issues, applications of the parametric acoustic array, and some safety concerns in using the PAA in Parametric acoustic array air. We also give a glimpse on some of the new work on the PAA and its new applications. This review Parametric loudspeaker paper gives a tutorial overview on some of the foundation work in the PAA, and serves as a prelude to Directional sound beam the recent works that are reported by different research groups in this special issue. Ó 2012 Elsevier Ltd. All rights reserved. 1. Introduction 2. Theoretical framework of the parametric acoustic array The discovery of the parametric acoustic array (PAA) has come a When two sinusoidal beams are radiated from an intense ultra- long way (almost half century ago) since it was first theoretically sound source, a spectral component at the difference frequency is analyzed by Westervelt [1] in 1963.
    [Show full text]
  • DEVELOPMENT of an ULTRASONIC PIEZOELECTRIC MEMS-BASED RADIATOR for NONLINEAR ACOUSTIC APPLICATIONS by BENJAMIN ANDREW GRIFFIN A
    DEVELOPMENT OF AN ULTRASONIC PIEZOELECTRIC MEMS-BASED RADIATOR FOR NONLINEAR ACOUSTIC APPLICATIONS By BENJAMIN ANDREW GRIFFIN A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2009 1 °c 2009 Benjamin Andrew Gri±n 2 To my wife, Elizabeth, with much love and appreciation. Isaiah 40:31 ...but those who hope in the Lord will renew their strength. They will soar on wings like eagles; they will run and not grow weary, they will walk and not be faint. 3 ACKNOWLEDGMENTS Financial support for this work has been provided by graduate fellowships from the National Science Foundation and the University of Florida. I thank my advisors, Mark Sheplak and Louis N. Cattafesta III, for their many helpful technical discussions, as well as their career and personal advice. I am also grateful to my committee members, Havana V. Sanka, David Arnold, and Nab Ho Kim, for their expertise and assistance in the success of this project. I am especially grateful to my many colleagues in the Interdisciplinary Microsystems Group. I would like to thank my predecessors, Venkataraman Chandrasekaran and Guiqin Wang, for establishing a ¯rm foundation upon which this work was built. Former colleagues David Martin and Stephen Horowitz are greatly appreciated for their mentorship and train- ing during our concurrent association with the Interdisciplinary Microsystems Group. I have much gratitude for contemporaries Brian Homeijer and Vijay Chandrasekharan as we have \come of age" as graduate students together. Their engaging technical discussions, friend- ship, and comradery have been a sustaining force in my graduate career.
    [Show full text]
  • C:\Documents and Settings\Hubert Howe\My Documents\Courses
    Musical works of Karlheinz Stockhausen (b. 1928) [Information taken from www.stockhausen.org.] Nr. Chöre für Doris for choir a capella, 1950 Drei Lieder for chorus and chamber orchestra, 1950 Chorale for four-part choir a capella, 1950 Sonatine for violin and piano, 1951 Kreuzspiel (“Cross-play”) for oboe, bass clarinet, piano, percussion, 1951 Formel (“Formula”) for orchestra, 1951 Etüde, musique concrète, 1952 Spiel (“Play”) for orchestra, 1952 Schlagtrio (percussion trio), for piano and 3x2 timpani, 1952 Punkte (“Points”) for orchestra, 1952 (revised, 1962) 1 Kontra-Punkte (“Counter-points”) for 10 instruments, 1952-3 2 Klavierstücke I-IV (Piano pieces I-IV), 1952-3 (Klavierstück IV revised 1961) 3/I Studie I, electronic music, 1954 3/II Studie II, electronic music, 1954 4 Klavierstücke V-X, (Piano pieces V-X), 1954-5 (Klavierstück X revised 1961) 5 Zeitmasze (“Tempi”) for woodwind quintet, 1955-6 6 Gruppen (“Groups”) for three orchestras, 1955-57 7 Klavierstück XI (Piano piece XI), 1956 8 Gesang der Jünglinge (“Song of the Youths”), electronic music, 1955-6 9 Zyklus (“Cycle”) for one percussionist, 1959 10 Carré for four orchestras and choruses, 1959-60 11 Refrain for three players, 1959 12 Kontakte (“Contacts”) for electronic sounds, 1959-60 Kontakte for electronic sounds, piano and percussion, 1959-60 Originale (“Originals”), musical theater with Kontakte, 1961 13 Momente (“Moments”) for soprano, four choral groups and 13 instruments, 1962-4 (Revised 1965, 1998) 14 Plus/Minus 2 x 7 pages for elaboration, 1963 15 Mikrophonie I (“Microphony
    [Show full text]
  • Sound from Ultrasound: the Parametric Array As an Audible Sound Source
    Sound From Ultrasound: The Parametric Array as an Audible Sound Source F. Joseph Pompei B.S. Electrical Engineering, Rensselaer Polytechnic Institute, 1995 M.M. Music Technology, Northwestern University, 1997 Submitted to the program in Media Arts & Sciences, School of Architecture and Planning in partial fulfillment of the requirements for the degree of Doctor of Philosophy at the Massachusetts Institute of Technology June 2002 @Massachusetts Institute of Technology, 2002 All Rights Reserved i-A Author rogb in Media Arts & Sciences May 22, 2002 Certified by ProfessIr Barry Vercoe Program in Media Arts and Sciences Thesis Supervisor NAN Accepted by Andrew B. Lippman Chairperson Departmental Committee on Graduate Students MASSACHUSETTS INSTITUTE OF TECHNOLOGY JUN 2- 2003 LIBRARIES Sound From Ultrasound: The Parametric Array as an Audible Sound Source F. Joseph Pompei Submitted to the program in Media Arts & Sciences, School of Architecture and Planning on May 22, 2002 in partial fulfillment of the requirements for the degree of Doctor of Philosophy at the Massachusetts Institute of Technology Abstract A parametric array exploits the nonlinearity of the propagation medium to emit or detect acoustic waves in a spatially versatile manner, permitting concise, narrow directivity pat- terns otherwise possible only with physically very large transducer geometries. This thesis explores the use of the parametric array as an audible sound source, permitting audible sound to be generated with very high directivity compared to traditional loudspeakers of comparable size. The thesis begins with a review of basic underlying mathematics and relevant ap- proximate solutions of nonlinear acoustic systems. Then, these solutions are used to con- struct suitable methods of ultrasonic synthesis for low-distortion audio reproduction.
    [Show full text]
  • Space As Reference: Representations of Space in Electroacoustic Music
    Peer-Reviewed Paper JMM: The Journal of Music and Meaning, vol. 12, 2013/2014 Space as Reference: Representations of Space in Electroacoustic Music Dr Frederico Macedo, University of the State of Santa Catarina, Brazil Abstract This article discusses in detail the use of spatial references in electroacoustic music, which is the fourth of the five senses of space I identified in a broader investigation on the meaning of space in music, electroacoustic music and sound art. The expression space as reference refers to the use of the referential properties of sound to suggest or produce spatial impressions and associations. I start discussing the controversies related to the use of referential meaning in music, and how, since the development of electroacoustic music, it has become a crucial aspect in the characterization and definition of its different branches and aesthetic orientations. Then I discuss how a number of composers of electroacoustic music have conceptualized and worked with reference in their compositional practice. In the next section I discuss how soundscape composition has been working with spatial reference as a central aspect of its aesthetic principles. Afterwards, I expose how representation has been used as a structural element in the works Night Song I and Night Song II, and how these works can be characterized in terms of the terminology suggested by the aforementioned composers. In the conclusion, I discuss how the categories of abstraction and representation can be understood as relative and complimentary concepts, suggesting that, for the composer, it would be interesting to keep both aspects in mind, as both of them are relevant for the reception of their compositional work.
    [Show full text]
  • Aalborg Universitet Re-New
    Aalborg Universitet Re-new - IMAC 2011 Proceedings Søndergaard, Morten Publication date: 2012 Document Version Publisher's PDF, also known as Version of record Link to publication from Aalborg University Citation for published version (APA): Søndergaard, M. (Ed.) (2012). Re-new - IMAC 2011 Proceedings. Aalborg Universitetsforlag. 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 27, 2017 IMAC proceedings interactive media arts conference copenhagen 17th–19th of may Edited by Morten Søndergaard Table of Contents P. 3…. Morten Søndergaard - (re)new configurations. Beyond the HCI/Art Challenge: Curating re-new 2011. P.9…. Debra Swack - Synthetic Biology and the Emotions (after Charles Darwin). P.16…. Cuartielles D., Göransson A., Olsson T., Stenslie S, Sjunnesson D. - TECHNOLOGICAL MASHUPS - building HiFi wearable’s P.21…. Winfried Ritsch - sound plates as piano interface.
    [Show full text]
  • Investigation of the Steerable Parametric Loudspeaker Based on Phased Array Techniques
    This document is downloaded from DR‑NTU (https://dr.ntu.edu.sg) Nanyang Technological University, Singapore. Investigation of the steerable parametric loudspeaker based on phased array techniques Shi, Chuang 2013 Shi, C. (2013). Investigation of the steerable parametric loudspeaker based on phased array techniques. Doctoral thesis, Nanyang Technological University, Singapore. https://hdl.handle.net/10356/51775 https://doi.org/10.32657/10356/51775 Downloaded on 08 Oct 2021 21:21:15 SGT INVESTIGATION OF THE STEERABLE PARAMETRIC LOUDSPEAKER BASED ON PHASED ARRAY TECHNIQUES ARRAY PHASED ON BASED LOUDSPEAKER PARAMETRIC STEERABLE THE OF INVESTIGATION INVESTIGATION OF THE STEERABLE PARAMETRIC LOUDSPEAKER BASED ON PHASED ARRAY TECHNIQUES SHI CHUANG SHI SHI CHUANG 201 3 SCHOOL OF ELECTRICAL & ELECTRONIC ENGINEERING 2013 INVESTIGATION OF THE STEERABLE PARAMETRIC LOUDSPEAKER BASED ON PHASED ARRAY TECHNIQUES SHI CHUANG School of Electrical & Electronic Engineering A thesis submitted to the Nanyang Technological University in partial fulfillment of the requirement for the degree of Doctor of Philosophy 2013 Acknowledgements First and foremost, I would like to thank my supervisor, Associate Professor Gan Woon Seng, for his continued guidance and encouragement throughout my Ph.D. candidature. He created a fully supportive environment to initiate and pursue this research work, and provided me the chance to become a researcher and explore the world. Sincere thanks to Dr. Tan Ee Leng, Dr. Ji Pei Feng, and Mr. Ji Wei for their generous sharing of knowledge and assistance in technical problems. I am also grateful to the lab technicians, Mr. Yeo Sung Kheng and Mr. Ong Say Cheng, for their friendly logistical and administrative support over the past four years.
    [Show full text]
  • CURRICULUM VITAE (Stand: JUNE 2021)
    CURRICULUM VITAE (Stand: JUNE 2021) Name: Javier Alejandro Garavaglia Title: Doctor (Ph.D.) Nationality: Natural of Argentina, shares also the German and Italian citizenships Website: https://tinyurl.com/JavierGaravaglia EDUCATION Higher Education: (1) Ph.D. by Prior Output awarded by London Metropolitan University (2010). Thesis: ‘The Dramaturgy of Music: its Impact on my Composition’. Main subject: past own compositions and their contextualisation through the dramaturgy of music, including subjects such as computer science (e.g. algorithmic composition and algorithmic sound design) and multimedia. Apart from the thesis, the submission included a selection of six compositions from the period between 1994 and 2010 covering a variety of styles, e.g. orchestral, interactive/multimedia, ensemble with electronics and acousmatic multichannel works. • Supervision team: Prof S. Emmerson (De Montfort University, UK), L. Jones (London Metropolitan University). • Examiners: Prof Leigh Landy (De Montfort University, UK) and Prof Peter Nelson (University of Edinburgh, UK). (2) Postgraduate Degree (1995) in electronic and instrumental composition, awarded by Folkwang Hochschule Essen (Germany) Degree: Künstlerische Abschlussprüfung im Studiengang Komposition in den Studienrichtungen Instrumentale und Elektronische Komposition. Supervision: Prof Nicolaus A. Huber, composition (1990 - 1992) and Prof Dirk Reith, electronic composition and computer music, Institut für Computermusik und Elektronische Medien – ICEM (1990 - 1995) (3) BA/MA (1987) Facultad de Arte y Ciencias Musicales de la Universidad Católica Argentina (Buenos Aires - Argentina) Two degrees, both awarded the Golden medal for the best result of the academic year 1987: • Licentiate in Music (composition) & Arts • Professor in Music (composition). International teaching overseas degree including Higher Education. Early Education: 1974 - 78: Secondary school: Colegio San Román in Buenos Aires - Argentina.
    [Show full text]