The Acoustics of Sound Recording Rooms

Sabine, Paul E.

doi:10.5594/j13138

Cited by 5 publications

(2 citation statements)

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“…Quality, in the sense of liking or preference, was already an issue in early investigations aiming at preferred values for the reverberation time of concert halls (Sabine 1906;Watson 1923;Bagenal 1925;Sabine 1928;Knudsen 1931). Multidimensional approaches have often tried to find correlations between the rating of individual attributes or factors and the overall pleasantness (Wilkens 1977), the degree of enjoyment (Hawkes and Douglas 1971) or the preference (Soulodre and Bradley 1995;Lokki et al 2012) of the room acoustical impression.…”

Section: The Perceived Quality Of Performance Spacesmentioning

confidence: 99%

The Language of Rooms: From Perception to Cognition to Aesthetic Judgment

Weinzierl

Lepa

Thiering

2020

Modern Acoustics and Signal Processing

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Rooms are not perceptual objects themselves; they can only be perceived through their effect on the presented signal, the sound source, and the human receiver. An overview of different approaches to identify the qualities and the dimensions of "room acoustical impression" will be provided, that have resulted in psychological measuring instruments for room acoustical evaluation from the audience perspective. It will be outlined how the psychoacoustic aspects of room acoustical perception are embedded in a socio-cultural practice that leads to an aesthetic judgment on the quality of performance venues for music and speech.

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Section: The Perceived Quality Of Performance Spacesmentioning

confidence: 99%

The Language of Rooms: From Perception to Cognition to Aesthetic Judgment

Weinzierl

Lepa

Thiering

2020

Modern Acoustics and Signal Processing

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“…Similar experiments were carried out by Bagenal with musicians as test subjects, who were asked to assess the reverberance and the effect of the room on the sound of their own musical instrument, while different materials were introduced into the room [7]. Other studies tried to interpolate the reverberation times of existing concert halls which were generally recognized for their superior acoustics, in order to find target values for acoustical planning [8][9][10]. In 1926, a first standard with guidelines for the reverberation time of rooms of different size was issued by the American Bureau of Standards [11].…”

Section: Perceptual Properties and Room Acoustical Parameters: State mentioning

confidence: 99%

Room Acoustical Parameters as Predictors of Room Acoustical Impression: What Do We Know and What Would We Like to Know?

Weinzierl

Vorländer

2015

Acoust Aust

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Room acoustical parameters are audio features, usually extracted from monaural or binaural measurements of room acoustical environments, and used to predict different aspects of the 'room acoustical impression'. The paper takes a closer look at the nature of this perceptional construct and at different approaches to develop a psychological measuring instrument for the multidimensional perceptional profile of room acoustical environments. Even after several decades of research, there is no satisfactory solution available for this purpose. The reasons for this lie in methodological deficits with respect to test development and item analysis as well as in a much too small sample of stimuli used in previous studies. Prospects for progress are opened up by state-of-the-art technologies for room acoustical simulation and auralization, which may be used to provide a large and representative sample of room acoustical environments as well as an authentic presentation in experimental studies. The fundamental perceptional components delivered by this approach will, most likely, not be predictable by traditional room acoustical parameters, but require advanced measurement techniques based on spherical arrays of transducers for both source and receiver characteristics, as well as new auditory models for feature extraction. The physical and psychological aspects of the problem are, in any case, inextricably linked with each other. Keywords Room acoustics • Measurement and simulation • Room acoustical perception 1 Rooms as Technical and Perceptual Objects In trying to capture the perceptual qualities of rooms, as a basis for room acoustical design or evaluation, one has to deal with the fact that rooms cannot be perceived as such, but only through their effect on the presented signal, the sound source, and the receiver involved. As with any other transmission system, its properties can only be studied in response to a given type of excitation. Assuming the room as a linear and time-invariant acoustical system, the output Y (ω) as the result of an excitation with the input signal X (ω) is given as S. Weinzierl () Audio Communication Group,

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A Proposed Loudness-Efficiency Rating for Loud-Speakers and the Determination of System Power Requirements for Enclosures

Hopkins¹,

Stryker²

1948

Proc. IRE

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The Acoustics of Sound Recording Rooms

Cited by 5 publications

References 0 publications

The Language of Rooms: From Perception to Cognition to Aesthetic Judgment

The Language of Rooms: From Perception to Cognition to Aesthetic Judgment

Room Acoustical Parameters as Predictors of Room Acoustical Impression: What Do We Know and What Would We Like to Know?

A Proposed Loudness-Efficiency Rating for Loud-Speakers and the Determination of System Power Requirements for Enclosures

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