Jukka Pätynen

Concert hall acoustics assessment with individually elicited attributes.

Concert hall acoustics was evaluated with a descriptive sensory analysis method by employing an individual vocabulary development technique. The goal was to obtain sensory profiles of three concert halls by eliciting perceptual attributes for evaluation and comparison of the halls. The stimuli were gathered by playing back anechoic symphony music from 34 loudspeakers on stage in each concert hall and recording the sound field with a microphone array. Four musical programs were processed for multichannel 3D sound reproduction in the actual listening test. Twenty screened assessors developed their individual set of attributes and performed a comparative evaluation of nine seats, three in each hall. The results contain the distinctive groups of elicited attributes and show good agreement within assessors, even though they applied individual attributes when rating the samples. It was also found that loudness and distance gave the strongest perceptual direction to the principal component basis. In addition, the study revealed that the perception of reverberance is related to the size of the space or to the enveloping reverberance, depending on the assessor.

Disentangling preference ratings of concert hall acoustics using subjective sensory profiles

Subjective evaluation of acoustics was studied by recording nine concert halls with a simulated symphony orchestra on a seat 12 m from the orchestra. The recorded music was spatially reproduced for subjective listening tests and individual vocabulary profiling. In addition, the preferences of the assessors and objective parameters were gathered. The results show that concert halls were discriminated using perceptual characteristics, such as Envelopment/Loudness, Reverberance, Bassiness, Proximity, Definition, and Clarity. With these perceptual dimensions the preference ratings can be explained. Seventeen assessors were divided into two groups based on their preferences. The first group preferred concert halls with relatively intimate sound, in which it is quite easy to hear individual instruments and melody lines. In contrast, the second group preferred a louder and more reverberant sound with good envelopment and strong bass. Even though all halls were recorded exactly at the same distance, the preference is best explained with subjective Proximity and with Bassiness, Envelopment, and Loudness to some extent. Neither the preferences nor the subjective ratings could be fully explained by objective parameters (ISO3382-1:2009), although some correlations were found.

Engaging concert hall acoustics is made up of temporal envelope preserving reflections

Strong, exciting, and engaging sound is perceived in the best concert halls. Here, it is shown that wideband early reflections that preserve the temporal envelope of sound contribute to the clear and open acoustics with strong bass. Such reflections are fused with the direct sound due to the precedence effect. In contrast, reflections that distort the temporal envelope render the sound weak and muddy because they partially break down the precedence. The presented findings are based on the earlier psychoacoustics research, and confirmed by a perceptual evaluation with six simulated concert halls that have same monaural room acoustical parameter values according to ISO3382-1.

Directivities of symphony orchestra instruments

The sound radiation patterns of musical instruments represent a considerable part of the perceived room acoustics. The directivities of fourteen common symphony orchestra instruments and a soprano singer during performance are investigated. For this purpose, each instrument was recorded with the musician in an anechoic room with 22 microphones distributed around the player. As the result, directivities of the strings and woodwind instruments are noticed to change with the played tone while the brass instruments radiate constantly in the direction of the bell. Playing dynamics was not found to affect the directivity although the spectrum of the sound changes considerably in particular with the brass instruments. The results can be utilized with source modeling in room acoustics simulation and in research on musical acoustics.

Analysis of concert hall acoustics via visualizations of time-frequency and spatiotemporal responses.

Acousticians and other practitioners alike often describe acoustic conditions in performance spaces with standard objective parameters. Apart from a few exceptions, the parameters are calculated by integrating the sound energy of the impulse responses over time; this makes them inadequate for researching the acoustics in detail, especially in the early part of the room impulse response. This paper proposes a method based on time-frequency and spatiotemporal presentations to overcome the lack of detail in the standard analysis. In brief, the proposed methods visualize the cumulative development of the sound field as a function of frequency or direction by forward-integrating the energy in the impulse response in short time frames. Analysis on the measurements from six concert halls concentrates particularly on interpreting the results in light of the seat dip effect. Earlier research has concluded that the seat dip effect is reduced by reflection from low overhead surfaces. In contrast, the current results indicate that the seat dip attenuation in the frequency response is corrected the best when the hall provides most lateral reflections. These findings suggest that the proposed analysis is suitable for explaining concert hall acoustics in detail.

Investigations on the balloon as an impulse source

Measurements of impulses produced by bursting balloons are presented. Various sizes of balloons were popped with a mechanical device in an anechoic chamber and recorded with a spherical microphone array. The power responses and directivity of the balloons are analyzed. Results indicate that power responses have two emphasized frequencies which depend on balloon size and inflation level. Larger balloons radiated more energy and higher inflation levels resulted in stronger high frequency content. Balloon directivity patterns are stable over repetitions. However, balloons do not radiate omnidirectionally. The degree of omnidirectionality improves with balloon size and for midrange frequencies.

Lateral reflections are favorable in concert halls due to binaural loudness

A recent study on perceptual difference in simulated concert halls showed that a concert hall renders stronger sound with more bass when the temporal envelope of a signal is preserved in the reflections [Lokki et al., J. Acoust. Soc. Am. 129, EL223-EL228 (2011)]. In the same study the lateral reflections were shown to contribute to the perceived envelopment and openness. Moreover, the listening test results suggest that lateral reflections contribute to perception of sound source distance. Here, it is shown that lateral reflections are beneficial due to their increasing effect on binaural loudness-the phenomenon known well in psychoacoustics, but not in architectural acoustics. The reflections from the side are amplified more than median plane reflections, in particular at high frequencies, due to the shape of the human head.

Method for measuring violin sound radiation based on bowed glissandi and its application to sound synthesis.

This work presents a method for measuring and computing violin-body directional frequency responses, which are used for violin sound synthesis. The approach is based on a frame-weighted deconvolution of excitation and response signals. The excitation, consisting of bowed glissandi, is measured with piezoelectric transducers built into the bridge. Radiation responses are recorded in an anechoic chamber with multiple microphones placed at different angles around the violin. The proposed deconvolution algorithm computes impulse responses that, when convolved with any source signal (captured with the same transducer), produce a highly realistic violin sound very similar to that of a microphone recording. The use of motion sensors allows for tracking violin movements. Combining this information with the directional responses and using a dynamic convolution algorithm, helps to improve the listening experience by incorporating the violinist motion effect in stereo.

Relationships between preference ratings, sensory profiles, and acoustical measurements in concert halls

Preferences of concert hall acoustics are explored with preference mapping. The investigation is performed on previously gathered data from individual vocabulary profiling of nine concert halls and three pieces of symphonic music, namely, excerpts of compositions by Beethoven, Bruckner, and Mozart. Individual preferences are regressed onto a latent three-dimensional sensory space obtained by multiple factor analysis of descriptive sensory data. Overlaying individually estimated preference surfaces onto one another produces preference maps which illustrates both the overall preference of the stimuli as well as differences between individual listeners. A comparison of the maps between music motifs illustrates how each music signal affects the weighting of different acoustical qualities in preference judgments. Differences in preferences between individuals are pronounced in the excerpts of Beethoven and Bruckner, while the responses are more homogeneous for Mozart music motif. Overall, proximity is identified as the main aspect associated with preference, but also loudness, envelopment, and bass are important. A correlation analysis of objective parameters and subjective perceptions substantiates the importance of lateral sound energy for good concert hall acoustics. Particularly, the lateral early energy fraction at high frequencies is found to be associated with the perception of proximity, and hence, also with preference.

The role of diffusive architectural surfaces on auditory spatial discrimination in performance venues

In musical or theatrical performance, some venues allow listeners to individually localize and segregate individual performers, while others produce a well blended ensemble sound. The room acoustic conditions that make this possible, and the psycho-acoustic effects at work are not fully understood. This research utilizes auralizations from measured and simulated performance venues to investigate spatial discrimination of multiple acoustic sources in rooms. Signals were generated from measurements taken in a small theater, and listeners in the audience area were asked to distinguish pairs of speech sources on stage with various spatial separations. This experiment was repeated with the proscenium splay walls treated to be flat, diffusive, or absorptive. Similar experiments were conducted in a simulated hall, utilizing 11 early reflections with various characteristics, and measured late reverberation. The experiments reveal that discriminating the lateral arrangement of two sources is possible at narrower separation angles when reflections come from flat or absorptive rather than diffusive surfaces.