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TUESDAY MORNING, 6 NOVEMBER 2018 THEATER (VCC), 8:00 A.M. to 11:55 A.M. Session 2Aaa Architectural Acoustics: Architectural Acou

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TUESDAY MORNING, 6 NOVEMBER 2018 THEATER (VCC), 8:00 A.M. to 11:55 A.M. Session 2Aaa Architectural Acoustics: Architectural Acou TUESDAY MORNING, 6 NOVEMBER 2018 THEATER (VCC), 8:00 A.M. TO 11:55 A.M. Session 2aAA Architectural Acoustics: Architectural Acoustics and Audio: Even Better Than the Real Thing K. Anthony Hoover, Cochair McKay Conant Hoover, 5655 Lindero Canyon Road, Suite 325, Westlake Village, CA 91362 Alexander U. Case, Cochair Sound Recording Technology, University of Massachusetts Lowell, 35 Wilder St., Suite 3, Lowell, MA 01854 Chair’s Introduction—8:00 Invited Papers 8:05 2aAA1. Analysis of the effect on the indoor acoustic comfort with the living surfaces in the design studio. Filiz B. Kocyigit and Nazli N. Yildirim (Interior Architecture & Environ. Design, Atilim Univ., incek, Ankara 06560, Turkey, fi[email protected]) It is clearly shown in studies that acoustic comfort in the interiors play an effective role on directly increasing the productivity of users. Despite having the similar physical characteristics as the classrooms, design studios differ in terms of function and user behaviors. The training processes in the design studios have complicated function, but this process is limited in the classrooms. Recent research shows that living surface contribute to acoustical control at different frequencies, during the design periods at the studios. In these stud- ies, living surfaces that provide indoor acoustic comfort are investigated in the general context. The effects of selected plants’ structural differences on the indoor sound control at different frequencies are analyzed. Three different plants such as grass, moss, and aloevera are selected and their behaviors controlling the sounds of high, medium, and low frequencies in the indoor space are investigated. The behavior of these plants for the control of sounds in different frequencies in the studios has been examined. It is aimed to increase the educational efficiency of the users by using the combination of the most effective plant species in the studios’ surface in terms of indoor acoustic comfort within the scope of the present data. 8:30 2aAA2. Sound system Deja Vu all over again!—Revisiting past design approaches in an acoustically challenging multi-purpose space. Deb Britton and Dustin Goen (K2, LLC, 5777 Central Ave., Ste. 225, Boulder, CO 80301, [email protected]) In the late 90s, we were tasked with designing a sound reinforcement system that would provide great speech intelligibility, in a highly reverberant space, without modifying any of the architectural finishes. The sound system had to support different types of events, held in different locations within the space, and with varying audience sizes. In 2015, we were asked to revisit the original loudspeaker design, and upgrade the sound system in that same space. Flash forward a few more years, and the entire building is getting a renova- tion—and we are once again designing a completely new sound system. This paper presents a case study of the upgrades, and describes the challenges, the lessons learned, and the changes in approach from the original upgrade through to the most recent design. 8:55 2aAA3. Beyond the chamber, plate, or digital reverb. Electronic architecture and the acoustically flexible recording environ- ment. Steve Barbar (E-coustic Systems, 30 Dunbarton Rd., Belmont, MA 02478, [email protected]) and Russ Berger (RBDG, Carrollton, TX) For more than 20 years, Electronic architecture has been successfully integrated in a variety of venues for live performances. We will discuss how the inclusion of this technology in recording facilities has both altered recording methods, and expanded clientele at three recording facilities: The Dimenna Center for Classical Music is New York’s premier facility for recording acoustic music. Recent projects include the soundtrack for the Coen Brothers’ feature film Hail, Caesar!; the Grammy-nominated cast album for The King and I featuring Kelli O’Hara and Ken Watanabe; the soundtrack for James Schamus’ Indignation; a Grammy Award-winning album by Room Full of Teeth; and an upcoming harmonia mundi release featuring Pablo Heras-Casado and Orchestra of St. Luke’s. Sweetwater Music has recently expanded its recoding capabilities and upgraded the E-Coustic system with the latest hardware and software. Recent sessions include the Counting Crows, Adrian Belew, and Steve Curtis Chapman. Fo’Yo’ Soul is Grammy award winning Kirk Franklin’s new facility in Arlington Texas designed by Russ Berger. The studio (Uncle Jesse’s Kitchen) features one of the first E-Studio product installations that allows acoustical conditions in the studio to be adjusted at the touch of a button, allowing soloists and ensembles to re- cord in an environment tailored for comfort and creativity. 1738 J. Acoust. Soc. Am., Vol. 144, No. 3, Pt. 2, September 2018 ASA Fall 2018 Meeting/2018 Acoustics Week in Canada 1738 9:20 2aAA4. Audio rendering based on separation of direct and diffuse sound. Akio Ando (Electric and Electronics Eng., Faculty of Eng., Univ. of Toyama, 3190 Gofuku, Toyama 930-8555, Japan, [email protected]) Multichannel audio with many channels can capture the sound field with higher sense of reality. In the reproduction, however, a sys- tem with many loudspeakers can be setup only in the special room like a studio. Therefore, the audio rendering that converts the number of channels should be necessary in the reproduction. Many studies have been made on the audio rendering. These methods were based on the directional information of channels. On the other hand, there are two kinds of sense of reality: the reality by the object sound (“object reality”) and that by the field sound (“field reality”). There are also two kinds of sound in the multichannel audio signal: the direct and diffuse sound. The direct sound brings the object reality, and the diffuse sound brings the field reality. Since the conventional rendering methods rely on the directional information, it may be difficult to handle the diffuse sound. In this paper, we address a render- ing method based on the separation of direct and diffuse sound. Since the direct sound can be rendered by the conventional method, we clarify the requirements for the diffuse sound rendering from the viewpoint of sound reflection in the room. 9:45 2aAA5. Please turn it down!. Thomas J. Plsek (Brass/Liberal Arts, Berklee College of Music, MS 1140 Brass, 1140 Boylston St., Bos- ton, MA 02215, [email protected]) Sustained levels of 95 to 100 dBA and beyond are not uncommon in rock and pop music genres, leading to daily noise doses that are 100% or more above the recommendations established by the National Institute for Occupational Safety and Health. There are three options of addressing this situation: leaving the environment, using hearing protection, and turning the offending level down. It is the last of these that I will explore. The first two listed have problems with implementation. Using Leq measurements of various ensemble performance situations, the question addressed is whether or not musicians can learn to control the level of their instruments efficiently 2a TUE. AM enough, referencing NIOSH recommended noise exposures, to make a meaningful difference in exposure time without significantly sac- rificing the quality of the music. 10:10–10:25 Break 10:25 2aAA6. Effects for emphasis, enhancement, expression, and exaggeration. Alexander U. Case (Sound Recording Technol., Univ. of Massachusetts Lowell, 35 Wilder St., Ste. 3, Lowell, MA 01854, [email protected]) Sound recordings built through multitrack production face a competitive soundscape. Signal processing strategies have evolved with the production goal of increasing the audibility of specific signal traits — making the subtle more apparent, the performance more com- pelling, the recorded art more successful. 10:50 2aAA7. AtatTATurk’s€ Sarcophagus Acoustic Properties. Filiz B. Kocyigit (Architecture, Atilim Univ., incek, Ankara 06560, Turkey, fi[email protected]) This research investigates the acoustical characteristics of Ataturk€ sarcophagus. The Hall of Honor, which included the Ataturk’s€ sar- cophagus, was elevated from the whole mass, as it seemed strongly to the outside architect. The first floor is surrounded by this hall. The monument was built on a platform raised by six meters with a staircase in the direction of the square, with the ground closed and a mas- sive wall with small windows, which was turned over with stone columns. The east entrance of the monument is at the beginning of the Aslan Road. At the beginning of this road, the entrance is strengthened by two guards, four meters high stairs are raised. When the monument is placed on the hill, two strong axes perpendicular to each other are taken as principal. Results, at the research, include equivalent sound pressure levels (Leq) as a function of location, frequency, and time of day. Special and important days like Revolution days are also researched. The spectra are generally flat over the 63–2000 Hz octave bands, with higher sound levels at lower frequencies, and a gradual roll off above 2000 Hz. Many units exhibit little if any reduction of sound levels in the nighttime. 11:15 2aAA8. Nature as muse: How cave acoustics can help us be more imaginative with our reverb choices. Yuri Lysoivanov (Record- ing Arts, Flashpoint Chicago, 28 N. Clark St. #500, Chicago, IL 60602, [email protected]) The cave is an oft-overlooked option for the audio practitioner’s toolbox. With the aid of the science team from the National Park Service, we recorded impulse responses and analyzed the properties of several acoustically distinctive spaces inside Mammoth Cave in Kentucky, the longest cave network in the world. An understanding of the unique characteristics of these areas can help inform more cre- ative approaches in reverb selection and educate us to be more innovative in music, sound, and room design. 1739 J. Acoust. Soc. Am., Vol. 144, No. 3, Pt. 2, September 2018 ASA Fall 2018 Meeting/2018 Acoustics Week in Canada 1739 Contributed Paper 11:40 control review for a project is required or not.
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