Equal Reverberance Contours for Synthetic Room Impulse Responses Listened to Directly: Evaluation of Reverberance in Terms of Loudness Decay Parameters

Lee, Doheon; Cabrera, Densil; Martens, William L.

doi:10.1260/1351-010x.18.1-2.189

Cited by 7 publications

(4 citation statements)

References 11 publications

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“…All previous experiments the authors are aware of are based on judging or comparing RTs for the same type of sound source, and sound sources were only varied from experiment to experiment (Seraphim, 1958;Lee et al, 2011;Billon and Embrechts, 2012;Tsolias and Davies, 2014).…”

mentioning

confidence: 99%

The influence of signal type on perceived reverberance

Teret

Pastore

Braasch

2017

The Journal of the Acoustical Society of America

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Currently, architectural room acoustic metrics make no real distinction between a room impulse response and the auditory system's internal representation of a room. These metrics are generally based on impulse responses, and indirectly assume that the internal representation of the acoustic features of a room is independent of the sound source. However, while a room can be approximated as a linear, time-invariant system, auditory processing is highly non-linear and varies a great deal over time in response to different acoustic inputs. Listeners were presented with various signals (clicks, long-duration noise, music, and speech) convolved with impulse responses consisting of Gaussian noises with different rates of exponential decay. Listeners were asked to adjust the reverberation time of one of the signals to match the other. Analyses of the data show that the source signal has a significant influence on perceived reverberance. Also, listeners were less accurate when matching reverberation times between different signals than they were with identical signals, suggesting that predicting subjective measures of reverberance from room impulse responses faces severe limitations that cannot be neglected. Results further suggest that the auditory system does not have a well-developed temporal representation of the diffuse reverb tail.

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mentioning

confidence: 99%

The influence of signal type on perceived reverberance

Teret

Pastore

Braasch

2017

The Journal of the Acoustical Society of America

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“…Lee et al [4] reported that both reverberation time and loudness contributed to the perception of reverberation, and the 5 dB difference was significant. They evaluated steadystate noise and its decay process as the test signal, using the A-weighted equivalent sound pressure level of the steadystate portion as loudness.…”

Section: Loudness Of Musicmentioning

confidence: 99%

“…There are generally two perspectives in previous psychological research on reverberation time. One is to seek independent physical indicators corresponding to the subjective perception of reverberation [1]- [4]. The other is to clarify the appropriate reverberation time for the size of the hall or the type of music it could host [5]- [6].…”

Section: Introductionmentioning

confidence: 99%

Reexamination of the favorable reverberation time of concert halls measured in a 3D synthesized sound field

Hidaka,

Nishihara,

Suzuki

et al. 2024

Acoust. Sci. & Tech.

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This paper examined the favorable reverberation time in concert halls for orchestral music. Anechoic music sources created by session recording were reproduced by a virtual orchestra with 45 loudspeakers set on concert hall stages and were recorded with a 32-channel spherical microphone at audience seats. Four orchestral music excerpts from the classical, romantic, and contemporary periods were chosen. By a fourth order Ambisonics playback in the laboratory, a series of psychological experiments were conducted. Twenty-one music experts judged the reverberance and clarity of the presented sound. It is found that midfrequency reverberation time RTM (octave band average for 500 and 1000 Hz) and early decay time EDTM are both highly correlated with the reverberance, and their favorable values are determined by the tempo: speed or pace of the music, not by the chronological classification of music. For the tempo from Presto to Allegro, the favorable RTM ranges from 1.7 to 2.2 s, and if extrapolation of this result is assumed, the favorable RTM ranges from 2.0 to 2.2 s from Presto to Andante.

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“…Time-depending loudness includes as well spectral masking as the temporal effects of cochlear sound processing. Densil Cabrera and Doheon Lee 12 investigated the impression of reverberance based on loudness decay curves. The loudness decay rates are much better correlated with subjective reverberance than simple level decays.…”

Section: Room Acoustics and Psychoacousticsmentioning

confidence: 99%

Simulation and Evaluation of Acoustic Environments

Vorländer

2014

Building Acoustics

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Humans experience their environment in various working, educational and living situations and in concert halls and opera houses. Whether the environment is considered acoustically appropriate or not depends on many factors. The research unit SEACEN is currently working on a coordinated effort to improve the complete signal chain from the numerical modelling, the data acquisition within numerical or real sound fields, the coding and transmission to the electro-acoustic reproduction by binaural technology or by sound field synthesis. A novel approach for the comparative evaluation of real and simulated environments will also enable the evaluation of the plausibility and/or the authenticity of virtual acoustic environments and a contribution to the development of better physical metrics to predict the qualities of concert halls and opera houses. These activities are relevant not only for concert hall acoustics but for acoustic spaces in general. The activities of SEACEN are summarized. The benefit from having these projects coordinated in a consortium is in the connection between all projects through perception studies and knowledge and data transfer between the groups. The commonly used factors in ISO 3382-like applications in classical room acoustics for concert hall design and consulting will be re-visited, and an extended parameter set will lead to progress in coding and reproduction of 3D sound fields in general. It is hoped that in the end room acoustics and audio engineering will benefit from this cooperation.

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Equal Reverberance Contours for Synthetic Room Impulse Responses Listened to Directly: Evaluation of Reverberance in Terms of Loudness Decay Parameters

Cited by 7 publications

References 11 publications

The influence of signal type on perceived reverberance

The influence of signal type on perceived reverberance

Reexamination of the favorable reverberation time of concert halls measured in a 3D synthesized sound field

Simulation and Evaluation of Acoustic Environments

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