中国筝的声功率级测试

筝是中国古老的弹弦乐器。但迄今为止,对其声功率级一直未进行科学的测定。本文在一混响室内根据ISO及GB标准,对二十一弦筝的声功率级进行了首次测定。两位资深乐师在混响室内分别演奏各自的乐器,通过围绕乐师和乐器布置的四通道测试设备,对筝所辐射的声功率级和动态范围进行测定。测试结果表明,中国筝在以不同力度演奏单音、音阶和乐曲时所辐射的声功率级及其频率特性均有所不同。考虑到乐器演奏音阶时所辐射的声功率级及其动态范围与演奏乐曲时的声功率级接近,并且,音乐的空间感也大都在乐器以f力度演奏乐曲的强音标志乐段时最为显著,故此我们建议中国筝所辐射的声功率级用其以f力度演奏音阶时的平均声功率级表示。本文测试的两架中国筝以f力度演奏音阶时的平均声功率级为85.9dB。文中不仅首次公布了中国筝声功率级的测试结果,并且所介绍的测试方法对其它乐器声功率级测试也具有借鉴意义。民族乐器所辐射的声音性能的确定是民族音乐厅堂音质研究的基础。     

Acoustic evolution of ancient Greek and Roman theatres

In this investigation the acoustic properties of ancient performance spaces for Greek and Roman drama were studied, from the viewpoint of material and design evolution. The paper first reviews the theatre evolution in antiquity. Following a systematic examination of computer simulation methodology for ancient Greek and Roman theatres, it then presents the results of a series of acoustic simulations in six typical theatre forms, using a beam-tracing program. Particular attention is paid to the scattering and diffraction from seat risers, which are important in outdoors theatres. Acoustic indices considered include sound pressure level, reverberation time and speech transmission index. The results show that in the evolution of ancient Greek and Roman theatres, changes in materials and theatre design generally resulted in acoustic improvements – the reverberation time had been increased and the sound level had been enhanced. Since the exact material characteristics are unknown, possible variations in acoustic performances are discussed based on simulations using a range of boundary absorption and scattering coefficients.     

Virtual models for the prediction of acoustic fields of Manuel de Falla Auditorium in Granada,Spain

This paper presents the results of the acoustic simulation of the Manuel de Falla Auditorium (MFA), Granada, Spain, carried out in CATT-Acoustic and CATT–TUCT. The 3D geometrical acoustic model created for this purpose is tuned by adjusting the absorption and scattering coefficients of the convex reflector ceiling of the auditorium through an iterative process aimed at rendering differences between simulated and measured values for reverberation time in each octave frequency band lower than 5%. The model is validated by comparing simulated and measured figures for the most significant monaural and binaural room acoustic parameters assessed at multiple locations both on the stage and within the audience areas, then by performing both spectral and spatial analyses of their behaviour, and ultimately studying dissimilarities between the two sets of data in terms of just noticeable difference (JND). The influence of the degree of detail of the geometric model on the outcome is also considered by incorporating the 44 iconic lamps specifically designed for this enclosure, into the model. Likewise, the acoustic effect of an already executed seating replacement in the performance space is analyzed in relation to the degree of occupancy of the room. The simulated results confirm the appropriateness of the choice of the new seating for the refurbishment of the concert hall.     

Warm string tone in acoustics

The result of a basic warm string tone in a concert hall is that the whole orchestra not only sounds extremely well balanced, but the individual instruments outside the string family sound warmer and richer, and no attention is drawn to their extraneous noises. On the basis of orchestral conducting, performing, recording, and listening experience, some conclusions are reached, and suggestions made, concerning the physical conditions that are likely to be necessary, or conductive, to attainment of warm string tone. Among the physical factors considered are the acoustic and vibratory properties of the stage itself, hall volume, shape and reverberation time, and surface materials. Emphasis is placed, in discussion of the physical and musical factors, on the ways in which the musicians themselves, during performance, interact with “the acoustics”.     

Acoustic characteristics of urban streets in relation to scattering caused by building facades

The relationship between scattering and the acoustic characteristics of urban streets is examined by computer simulation. The simulation method is a combination of the image method for specular reflection and the radiosity method for scattering reflection. The findings are as follows: (1) the effect of scattering on the SPL appears as an increase at short distances and as a decrease at great distances. The range of the increase in SPL is larger in high-facade streets. In low-facade streets, the primary effect of scattering on SPL is a decrease in SPL. (2) In low-facade streets the reverberation time is determined by the sum of absorption coefficient and scattering coefficient. In contrast, in high-facade streets, the reverberation time is determined by the absorption coefficient. (3) The simulated result for the reverberation time shows good agreement with measured value in actual streets. (4) The estimated values for the sum of absorption coefficient and scattering coefficient of facades of actual urban streets range from 0.1 to 0.25.     

The sound absorption of an audience on unupholstered seating

The sound absorption of an audience on unupholstered seating as determined by acoustic scale model techniques is reported. The model auditor used was developed to simulate a seated person dressed in light to medium weight clothing. The variables examined are seating density, seating rake, perimeter per unit area of seating block, edge absorption and selective low frequency absorption. Tables are given for determining the total absorption of an audience based on the above variables.     

混响室内加载物损耗特性试验研究北大核心CSCD

为研究混响室加载效应,首先分析了混响室内各损耗途径,得出加载损耗是混响室测试过程中唯一人为可控的损耗路径。构建了常见的5种不同测试场景,利用时域法分别对这5种测试场景条件下的混响室品质因数进行测试并进行分析。结果表明,金属天线支架造成的加载效应最小,非金属天线支架会对混响室造成明显加载,降低混响室的品质因数,且随着非金属天线支架数量的增多,这种效应会愈发明显。此外,对加载物的平均吸收截面进行了研究,将混响室内所有加载物视为一个加载吸收截面,得到金属天线支架的吸收截面最小,非金属天线支架的加载吸收截面有明显增加。     

Algorithms for converting 3D surface roughness spectra when calculating frequency-angle reverberation characteristics

On the basis of an earlier developed model of sound scattering by surface disturbances characterized by 3D roughness spectra, we propose and test a sufficiently fast algorithm for calculating the spectral power density of surface reverberation that takes into account the propagation conditions, distance, and beam pattern of the receiver system. For a distance of up to 1000 m, a water area depth of ??20 m, and actually measured 3D roughness spectra in the Doppler frequency range of ±5 Hz, we have calculated the frequency-angle reverberation spectra for an acoustic background-radiation signal of 1.5 kHz. The obtained angle and frequency reverberation characteristics are compared with the results of acoustic measurements conducted using linear horizontal receiver antennas.     

水下目标回波与混响的时频形态特征域盲分离

水下沉底或掩埋目标识别受海底混响干扰严重,并且目标回波与混响在时-频域上均存在混叠,增大了对目标回波与混响的分离难度。根据目标回波与混响的产生机理差异,将图像形态学与时频分析相结合的盲分离算法用于目标回波与混响的分离。推导了目标几何声散射成分与混响在Wigner-Ville时频面的形态特征表达式,利用图像形态学滤波去除Wigner-Ville时频面中的混响及刚性亮点之间交叉项,在时频形态特征域获取解混矩阵,实现了目标回波和混响的分离。仿真与实验数据处理结果表明,结合图像形态学的时频域盲分离算法提高了目标回波信号的信混比。      

Improving the acoustic working conditions for musicians in small spaces

In the acoustic consulting, testing, design and engineering work of the Fraunhofer-Institute of Building Physics (IBP) the low-frequency end of the noise spectra and the room acoustic conditioning has gained tremendous importance over the years. For solving the long-ranging noise pollution from e.g. exhaust stacks and chimneys, a series of low-frequency sound attenuators with minimum flow resistance were developed. Its first representative was a novel membrane absorber [10] [Ackermann U, et al., Sound absorbers of a novel membrane construction. Applied Acoustics 1998;25:197-215]. Thanks to its slenderness and ruggedness it could also be employed for noise control and reverberation adjustment purposes in relatively narrow enclosures and harsh environments [11] and [12] [Vér IL. Enclosures and wrappings. In: Harris CM, editor. Handbook of acoustical measurements and noise control. New York: McGraw-Hill, 1991; Fuchs HV, Hunecke J. The room plays its part at low frequencies. Das Musikinstrument 1993;42:40-6 (in German). Meanwhile a new type of panel absorber has been optimized for both kinds of application. Its absorption efficiency at frequencies far below 100 Hz could be demonstrated and quantified by a special measuring procedure based on the reverberation of a small rectangular room at its eigenfrequencies [3] (Zha X, et al. Measurements of an effective absorption coefficient below 100 Hz. Acoustics Bulletin 1999;24:5-10). With the aid of this novel tool it is now possible to qualify reverberation rooms and anechoic chambers for frequencies down to 63 and 31 Hz, respectively [9] (Fuchs HV, et al. Qualifying freefield and reverberation rooms for frequencies below 100 Hz. Applied Acoustics 2000;59:303-22). In a companion paper in this same journal [4] [Fuchs HV, et al.: Creating low-noise environments in communication rooms. Applied Acoustics (in print)] appropriate experience is reported in creating low-noise environments in multi-purpose rooms like offices, restaurants, foyers and seminars. A number of representative case studies [5] (Drotleff H, et al. : Attractive acoustic design of multi-purpose halls. 1. Chinese-German Platform Innovative Acoustics 2000, (October, 21-25. 2000)) show ample evidence that the low-frequency performance of the rooms has a strong influence on both the amplification of intruding external noise and the development of internally generated noise emanating from communication processes provoked by the users themselves. At work places where producing sound (by voices or/and instruments) is the main or only purpose for their existence, the acoustic qualification of the room at low frequencies turns out to be of the utmost importance, especially when musicians are forced to work in extremely narrow spaces like orchestra pits and rehearsal halls for many hours a day and often under extreme physical and mental pressure. The measures taken and described herein have proven to mitigate if not remove some of the acoustic burden put on musicians employed in states theatres.     

Sound strength and reverberation time in small concert halls

Sound strength and reverberation time measurements have been carried out in six small concert halls in Cambridge, UK. The sound strength G is a measure of the physical sound level in a concert hall and is closely related to the subjective sensation of loudness. It compares integrated impulse responses at a point in the measured room with that measured at ten metres distance in the free field.The aim of the measurements is to investigate the acoustic characteristics of the halls concerning sound strength and reverberation time. Furthermore the effect of the variable acoustics in the halls on these parameters is discussed in this paper. Especially for bigger ensembles it is often desirable to reduce the sound level in a small concert hall. The measurement results show that for a fixed hall volume, this can primarily be achieved by decreasing the reverberation time in the hall. However, with regard to the sound quality of a hall and the recommended reverberation times for chamber music, reverberation time cannot be reduced by an arbitrary extent. Therefore reverberation time and strength have to be balanced very carefully in order to obtain sufficient reverberation whilst at the same time avoiding excessive loudness. Finally the measured strength levels are compared to values derived from traditional and revised theory [Barron M, Lee L-J. Energy relations in concert auditoriums. J Acoust Soc Am 1988;84(2):618-28] on strength calculations in order to assess the accuracy of the theory for small chamber music halls. Possible reasons for the low measured strength levels observed are discussed with reference to related design features and objective acoustic parameters.     

Evaluations of output from room acoustic computer modeling and auralization due to different sound source directionalities

Evaluations of the predictions and auralizations from the room acoustic modeling program, ODEON, have been run using three directional source types with the same sound power: (a) an omni-directional source; (b) three sources with realistically-directional characteristics based on measurements from real instruments (grand piano, violin, and singing voice); and (c) an artificial, extremely directional beaming source. Objective analyses have been run for nine source/receiver combinations in a simple hall on three acoustic parameters: relative sound pressure level (SPL), reverberation time (T30), and clarity index (C80). Auralizations were subsequently created for two source/receiver combinations and used in subjective testing with 28 subjects. Results show that, objectively, differences in SPL were negligible for the majority of cases. Some differences in T30 and C80 were found between the omni-directional and realistically-directional sources; however, subjects did not perceive any corresponding differences when comparing the auralizations, possibly due to the limited directional octave band data available. Subjects did significantly differentiate between auralizations from the omni-directional source and the extreme beaming source. Subjective results from comparing these two sources in terms of reverberation, clarity and realism were generally consistent with objective data, although source/receiver combination and musical track had some influence on the outcomes.     

The average absorption coefficient for enclosed spaces with non uniformly distributed absorption

This study concerns the determination of an equivalent acoustic absorption model of the flat heterogeneous walls present in industrial rooms. Numerous measurements of the reverberation time in reverberant room were carried out for several facings with different distributed spatial absorption. Experimental results were compared to classical reverberation time models. The measurements showed that the change in average acoustic absorption depends on the relative distance between the sound source and the absorbent panels, as it is this which creates heterogeneity. Therefore, taking into consideration, in the theoretical models of average acoustic absorption studied, the solid angles representing the equivalent area of the panels as viewed by the source, improved the accuracy of the calculated reverberation time compared to the measurements. This equivalent acoustic absorption model, based on Sabine's absorption coefficient and employing the solid angle ratio, was used to calculate the reverberation time of several industrial rooms. The results obtained are better than those obtained with the standard formula.     

Experimental studies of sound absorption by church pews

The influence of pews on the acoustical characteristics of churches may be significant because they occupy large areas in rooms lacking absorbing surfaces. However, the information about this particular category of seating is sparse and, sometimes, contradictory. Different types of pews, differing in materials and construction, were analysed in a reverberant chamber by means of Bradley’s method, measuring the absorption coefficients of blocks with different perimeter-to-area ratios. A substantial dependence on the latter parameter was found, allowing prediction of absorption coefficients as a function of actual block dimensions. The presence of upholstered kneelers showed improved absorption properties which were also replicated on other pew types by adding strips of polyester fibre. On-site measurements in three churches were used to validate the method by means of direct application of Sabine’s formula and by means of virtual acoustic modelling. The first only provided satisfactory results in rooms complying with Sabine’s assumptions, while the second also gave good results in the other church with markedly non-uniform absorption. Finally, the application to computer models of absorption coefficients measured in the chamber was discussed.     

混响室雷达地杂波统计特性模拟

为实现混响室中威布尔分布杂波的有效模拟,营造逼真的雷达电磁环境,基于广义平稳非相关散射电磁环境下混响室信道衰落特性,通过控制幅度调制信号对衰落系数进行补偿,提出一种基于时域波形设计的混响室地杂波模拟方法。通过调节输入信号序列中大、小幅度脉冲比例,改变混响室传统输入信号的零均值幅度特性,以实测地杂波统计特性为参考,最终得到与实测数据统计特性参数一致的混响室杂波电磁环境。用最大似然估计和KS检验法对实验数据作参数估计和假设检验,实测地杂波数据拟合于标准威布尔模型,混响室实验数据拟合于实测地杂波幅度统计模型,从而实现了实测地杂波起伏特性的混响室有效模拟。     

广东星海音乐厅室内乐厅的声学设计

室内乐厅是以演奏室内乐为主、兼供独奏(唱)、音乐讲座、文娱演出和立体电影所用的多功能厅堂。为使各项功能均具有最佳的声学条件,设置了用计算机调控混响时间的装置。本文概要介绍室内乐厅的声学设计、但侧重于计算机调控混响时间所取得的成效。     

A possible acoustic design approach for multi-purpose auditoria suitable for both speech and music

In several auditoria, it has been observed that the reverberation time is longer than expected and that the cause is a horizontal reverberant field established in the region near the ceiling, a field which is remote from the sound absorbing audience. This has been observed in the Boston Symphony Hall, Massachusetts, and the Stadthalle Göttingen, Germany. Subjective remarks on their acoustics suggest that there are no unfavourable comments linked to the secondary sound field. Two acoustic scale models are considered here. In a generic rectangular concert hall model, the walls and ceiling contained openings in which either plane or scattering panels could be placed. With plane panels, the model reverberation time (RT) was measured as 53% higher than the Sabine prediction (frequency 500/1000 Hz), compared with 8% higher with scattering panels. The second model of a 300 seat lecture theatre with a 6 m or 8 m high ceiling had raked seating. In this case, the amount of absorption in the model was increased until the point was reached where speech had acceptable intelligibility, with the early energy fraction, D ? 0.5. For this acceptable speech condition with the 6 m ceiling, the measured mid-frequency T₁₅ was 1.47 s, whereas the Sabine predicted RT was 1.06 s. The sound decay was basically non-linear with T₃₀ > T₁₅ > EDT. Exploiting a high-level horizontal reverberant field offers the possibility of acoustics that are better adapted as suitable for both speech and unamplified music, without any physical change in the auditorium. Using secondary reverberation in an auditorium for a wide variety of music might also be beneficial.     

Prediction of the reverberation time in high absorbent room using a modified-diffusion model

A modification of the diffusion model’s boundary condition, based on the Eyring absorption coefficient, to account for high walls absorption is proposed. Numerical comparisons are carried out for three geometrical configurations (a proportionate room, a corridor and a flat enclosure). Comparisons with the statistical theory and a ray-tracing software show that the modified boundary condition increases the accuracy of the diffusion model in term of reverberation time in all the simulated configurations. An experimental comparison in the case of a non-uniformly absorbent room (a reverberation chamber covered with patches of glass wool) is also carried out. The modified-diffusion model results match well with the ray-tracing ones. Both models are in agreement with the experimental data for most of third octave bands (discrepancy close to or below 10%). However, some discrepancies up to 40% can also be observed in a few octave bands, probably due to experimental considerations and to the modal behaviour of the room at low frequencies.     

Feedback control of acoustic musical instruments: collocated control using physical analogs

Traditionally, the average professional musician has owned numerous acoustic musical instruments, many of them having distinctive acoustic qualities. However, a modern musician could prefer to have a single musical instrument whose acoustics are programmable by feedback control, where acoustic variables are estimated from sensor measurements in real time and then fed back in order to influence the controlled variables. In this paper, theory is presented that describes stable feedback control of an acoustic musical instrument. The presentation should be accessible to members of the musical acoustics community who may have limited or no experience with feedback control. First, the only control strategy guaranteed to be stable subject to any musical instrument mobility is described: the sensors and actuators must be collocated, and the controller must emulate a physical analog system. Next, the most fundamental feedback controllers and the corresponding physical analog systems are presented. The effects that these controllers have on acoustic musical instruments are described. Finally, practical design challenges are discussed. A proof explains why changing the resonance frequency of a musical resonance requires much more control power than changing the decay time of the resonance.     

Measurement of sound absorption coefficients of flat surfaces in a workshop

To improve the acoustic treatment of facings and provide appropriate solutions for noise control at workplace, it is necessary to develop methods of acoustic characterization of the walls in industrial halls. Sound absorption coefficient measurement in industrial rooms is however quite a difficult task because of the partially reverberant conditions. This work describes the measurement of the sound absorption coefficient of flat panels subject to small angle sound incidence, in an industrial hall using an experimental device equipped with an acoustic array. The directivity of this array has been optimized so that the major part of the received acoustic energy would come from one portion only of the investigated facing, this, in turn attenuating the reflected beams due to the reverberation. This new device includes an impulse sound source targeting the panels. The present article focuses mainly on the sound source design and implementation. It also describes some sound absorption measurements carried in a semi-anechoic chamber and in an industrial hall in order to examine the performance of the device. Sound absorption coefficients of several standard liners obtained through this device have been compared to those resulted from the two microphone technique.