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Sessions Within a Explained by “Perceptual Attention” and “Auditory Sensitivity” to Acoustic Week THURSDAY MORNING, 21 MAY 2015 COMMONWEALTH 2, 8:00 A.M. TO 10:45 A.M. Session 4aAAa Architectural Acoustics: Architectural Acoustics Potpourri Ana M. Jaramillo, Cochair Ahnert Feistel Media Group, 8717 Humboldt Ave. N, Brooklyn Park, MN 55444 Christopher L. Barnobi, Cochair CSTI Acoustics, 16155 Park Row Suite 150, Suite 101, Houston, TX 77084 Contributed Papers 8:00 8:30 4aAAa1. Comparisons between the preferences of musicians and non- 4aAAa3. Connecting the sense of envelopment to specific components of musicians in response to varying room acoustics using two different the sound field using perceptually motivated auralizations. Matthew T. testing methods. Martin S. Lawless and Michelle C. Vigeant (Graduate Neal and Miche C. Vigeant (Graduate Program in Acoust., Penn State Program in Acoust., The Penn State Univ., 201 Appl. Sci. Bldg., University Univ., 201 Appl. Sci. Bldg., University Park, PA 16802, mtn5048@psu. Park, PA 16802, [email protected]) edu) Although the brains of musicians and non-musicians differ both on an Envelopment is known to be a key attribute related to overall room anatomical and functional level, these groups tend to experience similar impression. Despite this importance, limited research has been done to iden- emotions in response to the same, unaltered musical excerpts (Bigand/ tify the specific components of the sound field that contribute to envelop- Poulin-Charronnat Cognition 2006). Contrarily, preliminary results of the ment. The goal of this study was to determine the timing and spatial authors and colleagues suggest that the two groups have diverse preferences distribution of reflections contributing to envelopment. A subjective study when presented with the same excerpt convolved with different room condi- was conducted using a range of simulated auralizations, which were played tions. A more comprehensive investigation was conducted to determine dif- back over a three-dimensional loudspeaker array in an anechoic chamber. ferences in preference between musicians and non-musicians in response to For each auralization, subjects rated their perceived envelopment. A real- stimuli of with different reverberation times, ranging from anechoic to very time acoustic simulation program was developed in Max to generate the sig- reverberant. Room acoustics models were used to create auralizations for a nals, which simulated early sound with the image-source method and late number of motifs. Subjects initially rated the stimuli in terms of overall sound with statistical reverberation. When creating the stimuli, the program preference, followed by rating their perception of reverberance. Two distinct produced immediate auditory feedback in response to adjusting the input pa- subjective testing methods, successive and comparative, were utilized and rameters. The signals were quantified through impulse response measure- compared. The successive method required the participants to rate each ments to ensure a wide range of conditions. The subjects’ envelopment stimulus separately in succession, while the comparative method allowed ratings were correlated to different components of the sound field, to evalu- the subjects to compare and rate each stimulus within a set with the rating ate how specific arrival time of reflections and spatial characteristics con- scale for each stimulus on one screen. The comparison between methods tribute to envelopment. These results could possibly be used to determine was performed to validate future testing conducted with the same stimuli in the effectiveness of existing envelopment metrics and potentially contribute more constrained settings, specifically in a functional magnetic resonance to developing a new measure to predict envelopment. [Work supported by imaging (fMRI) scanner. NSF Award-1302741.] 8:45 8:15 4aAAa4. Image source model for small room acoustics. Ambika Bhatta, 4a THU. AM 4aAAa2. Investigating the effect of arrival time of diffuse reflections on Charles Thompson, and Kavitha Chandra (Univ. of Massachusetts Lowell, 1 listener envelopment. Brandon Cudequest, M. Torben Pastore, and Jonas University Ave., Lowell, MA 01854, [email protected]) Braasch (Graduate Program in Architectural Acoust., Rensselaer Polytech- nic Inst., 110 8th St., Troy, NY 12180, [email protected]) In this investigation, the impulse response obtained using exact solution comprising of the Inverse Laplace transform (ILT) of the direction cosine of Listener Envelopment (LEV) is a quality of diffuse sound fields, and a the incident angle is undertaken. The results are compared to those obtained highly sought after attribute of performance venues. However, the ability by Allen and Berkley (JASA 65, 943–950, 1979). In addition, frequency de- for an enclosure to achieve ideal, diffuse sound field is often difficult, and pendent wall impedance effects are considered. Numerical efficiency and varies from space to space. Thus, a rigid transition time between early and accuracy of the image solution are evaluated. late energy is an insufficient way of evaluating LEV. Current theories on listener envelopment focus on the arrival time of the reflections within the 9:00 impulse response, but typically disregard the diffusivity of these reflections, 4aAAa5. Marketing architectural acoustics to non-acousticians (a.k.a. building on the fact that the impulse response generally becomes more the unwashed masses). Samuel V. Diaquila (Architecture, Kent State diffuse over time. An alternative model is proposed, where the listener Univ., 21863 Aurora Rd., Cleveland, OH 44146, [email protected]) envelopment is determined by both the diffusivity and the arrival time of reflections. The model disregards the current 80-ms criterion and also allows Architects understand aesthetic issues: color, texture, glare, serenity, reflections earlier then this to contribute to LEV. A 64-channel wave field excitement, as well as mechanical issues; fire suppression, air changes, and synthesis system is used to perceptually evaluate the effects of spatially and restroom requirements. Their thought process rarely considers the intangible temporally diffuse sound components as a function of arrival time. world of acoustics. Their clients (the “owner”) is even further removed. In 2357 J. Acoust. Soc. Am., Vol. 137, No. 4, Pt. 2, April 2015 169th Meeting of the Acoustical Society of America 2357 today’s construction environment, how does the acoustical consultant mar- ces in acoustics for a wide range of seat positions. For this purpose, the low ket his or her services successfully to decision makers who are faced with frequency acoustics of Rensselaer’s Experimental Media and Performing ever decreasing budgets and an ever increasing bombardment of informa- Arts Center (EMPAC) Concert Hall are simulated using finite difference tion? Even more challenging is ensuring that the acoustical consultant’s rec- time-domain (FDTD) methods to create signals for a 128-channel wave field ommendations are implemented. Learn ways to awaken your potential synthesis (WFS) system located at Rensselaer’s Collaborative Research client’s sensitivity and awareness of acoustics. Changing your sales presen- Augmented Immersive Virtual Environment (CRAIVE) Laboratory. By tation from a technical (acoustical consultants are generally “blind”), relying allowing multiple subjects to dynamically experience the concert hall’s on computer generated acoustical reports that resemble mathematical thesis acoustics at the same time, this research gains perspective on what is impor- papers to an emotion based technique (potential clients are generally tant for achieving objective accuracy and subjective plausibility in a simula- “deaf”), that brings the science of acoustics to life at a tangible human level. tion and auralization. Efforts are made to maintain efficiency of wave-based Everyone reacts to bad acoustics, with the exception of concert halls and modeling, and methods for evaluating the final auralization are explored restaurants, acoustics is rarely discussed and often not one of the end user’s from both objective and perceptual standpoints. priorities until there is a problem needing a retrofit. 10:15 9:15 4aAAa9. Practical desktop full-wave architectural acoustic solutions. 4aAAa6. The resonance of tapering spiral chambers. Paula Pino (Paula- Patrick Murray, Jeff Cipolla, and Adam Hapij (Appl. Sci., Weidlinger part, 142 Irving Ave., Apt. 1R, Brooklyn, NY 11237, [email protected]) Assoc., 40 Wall St., FL19, New York, NY 10005, patrick.murray@wai. This paper will explore the acoustical resonance of several cochlea- com) inspired sculptures (i.e., spiraling, tapering forms) made of glass, ceramics, An explicit, time-domain, finite-element method is shown to calculate and other materials. Each sculpture will function as an acoustic chamber the reverberation time in realistic acoustic spaces using desktop computing and will be equipped with a loudspeaker and a “mouth” through which resources. The reverberation time is defined as the time required for reflec- sound will pour out. Using frequency sweeps, feedback loops, reverb convo- tions of direct sound to decay 60 dB, and is also the principal quantity in ar- lution, and acoustic prediction software I will measure the resonant and chitectural acoustics across the frequency ranges of interest. Current reverberant responses of these acoustic sculptures and compare them with industry practice for calculating the reverberation time involves empirically analogous forms (e.g., animal horns, brass instruments, and mammalian derived
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