音乐厅音质设计中响度评价参量的讨论

强感级(G,dB)是评价音乐厅音质设计中重要客观参量之一,它由厅内声级按标准声源的声功率级归一化得出。我们不仅考察厅内的总强感级G,还得分别考虑其早期声和后期声的G_早和G_后,因为它们的成因和主观效果是不同的。近年从主观试验结果中获得一个意外发现,即最低频段的G_低值与中频G_中值之比,将是决定厅内低音感的主要因素,而不是过去所说的低频和中频混响时间之比。10年前,人们认为环绕感LEV只由到达听者耳际的侧向声能所决定,如今则了解到后期总声能G_后这一因素也很重要。并提出由G和侧向比值LF来估算LFV的新公式,便于设计考虑。本文对音乐厅最佳G值作了讨论。近年的一个重要发现是,音乐厅内听者响度判断主要由混响声决定,或认为因视听综合心理效应使听者的响度判断与离舞台距离几乎无关,或两者兼具。后者涉及视觉信息输入影响听觉响度体验,即所谓多维感知综合效果的心理学问题。近年有人认为G参量不能直接反映音乐厅内听众听到的绝对声压级为由,提出以音乐片段中乐队齐奏强音标志段声级L_pf作为评价音乐厅响度的新物理指标。作者对此作了全面评析,说明其存在问题和不可行性。     

Nonexponential decay law

The decay of a nonstationary state usually starts as a quadratic function of time and ends as an inverse power law (possibly with oscillations). Between these two extremes, the familiar exponential decay law may be approximately valid. The main purpose of this paper is to find the conditions which must be satisfied by the Hamiltonian and by the initial state, for the exponential law to have a significant domain of validity. It is shown that the evolution of a nonstationary state is governed by a nonnegative function W(E), having the dimensions of an energy. Among its properties are: the energy uncertainty is given by $\text{(ΔH)}{}^2\text{= ?W(E)dE}$, and the inverse lifetime by Γ = 2πW(E₀), where E₀ is the expectation value of H. The detailed shape of W(E) defines two characteristic times between which the exponential decay law is a good approximation: roughly speaking, the smoother W(E), the larger the domain of validity of the exponential law. For instance, if W(E) is very smooth ($\text{|}\text{dW}\text{dE}\text{| ? 1}$) except for a sharp threshold at E = E_thr, the transition from quadratic to exponential decay occurs for $\text{t ?}\text{1}\text{(E}{}_0\text{? E}{}_{\mathrm{<mtext>thr</mtext>}}\text{)}$, and the transition from exponential to inverse power law when $\text{Γt ?}\text{log}\text{[}\text{(E}{}_0\text{? E}{}_{\mathrm{<mtext>thr</mtext>}}\text{)}\text{Γ}\text{]}$.     

音乐厅音质设计

本文简要介绍音乐厅建筑实践的发展史和四个最近设计成功的大厅。简要叙述现在于大厅内能测量且与主观响应有关的客观参数,即混响时间、初始时间延迟间隙、响度、扩散、侧向反射和早期对后期能量比。最后,简短地报道近来声场模拟方法的发展,用这些方法可以预测某些声学特性。     

Nonexponential decay in relaxation phenomena

A variety of considerations from different points of view including non-Markovian stochastic processes, basic quantum mechanics, and a mechanism based on condensed matter physics, all lead to the fractional exponential decay at long times in relaxation processes. Implications of this decay law and its verifiable predictions in a broad range of phenomena in condensed matter physics are pointed out.     

On the combined effects of early- and late-arriving sound on spatial impression in concert halls

This paper describes six new experiments involving subjective ratings of the listener envelopment, LEV, and the apparent source width, ASW, of simulated sound fields. Previous work has identified LEV and ASW as the principal components of spatial impression in concert halls and has shown that ASW is primarily influenced by the level of early lateral reflections and LEV by late-arriving lateral reflections. The new results in this paper show that LEV can result from nonlateral late-arriving sounds and demonstrate the conflicting effects of early- and late-arriving lateral sound on ASW and LEV when both are present, as would occur in real halls. While it is possible to create simulated sound fields with only either LEV or ASW, in typical concert halls, the balance between early- and late-arriving lateral sound will determine the relative importance of LEV and ASW. LEV and ASW are shown to be perceived when the critical components of the sound field are salient relative to other components. The results of the new subjective studies were used to estimate expected ASW and LEV in 16 halls. In these halls LEV is predicted to be the stronger component of spatial impression.     

Subjective preference tests for sound fields in concert halls simulated by the aid of a computer

In the context of optimal acoustic design of concert halls, preference tests for simulated sound fields with various combinations of early discrete reflections and subsequent reverberation were conducted and the results compared with objective parameters. The results show that lateral early reflections which yield a small value of the interaural cross correlation give more preferred judgments than do non-lateral ones. The most preferred initial time delay (or scale factor for the dimensions of concert halls) can be determined by the long-time autocorrelation function of a music motif and by the total amplitude of both early reflections and the subsequent reverberation. As a comprehensive design concept, an “overall preference” for listeners is introduced here from the preference results.     

Development of scattering surfaces for concert halls

The degree of diffusion, characterized by the “scattering coefficient” of surface materials, has been known to be one of the most important factors in determining the acoustical qualities of concert halls. Based on the suggested ISO method, which measures the random-incidence scattering coefficient of surfaces in a diffuse field, the scattering coefficients of different sizes and densities of wooden hemispheres and cubes were measured in model-scale reverberation rooms. The results show that hemispheres with a height of more than 15 cm have the highest average (500 Hz to 4 kHz) scattering coefficient. It was also found that the scattering coefficient becomes higher when the diffuser density reaches about 50% for hemispheres and 30% for cubes.     

Audience noise in concert halls during musical performances

Noise generated by the audience during musical performances is audible and sometimes disturbing. In this study, an attempt to estimate such audience noise was carried out. From the recordings of performances in five performance spaces (four concert halls and one opera house), probability density functions of the sound pressure levels were obtained in octave bands, which were fitted with three Gaussian distribution curves. The Gaussian distribution curve with the lowest mean value corresponds to a mixture of the technical background noise and audience generated noise, which is named the mixed background noise. Finally, the audience noise distribution is extracted by energy subtraction of the technical background noise levels measured in an empty condition from the mixed background noise levels. As a single index, L(90) of the audience noise distribution is named the audience noise level. Empirical prediction models were made using the four orchestra concert halls, revealing that the audience noise level is significantly correlated with the technical background noise level. It is therefore concluded that a relaxation of the current background noise recommendations for concert halls is not recommended.     

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.     

Distribution of selected monaural acoustical parameters in concert halls

Acoustical parameters calculated from impulse responses are often used to evaluate the characteristics of concert halls. Representative parameters are listed in the Annex of ISO 3382 and the methods of calculation and the minimum number of measurement positions are explained in detail. However, a method for selecting measurement positions is not discussed clearly, because there are wide variations in the characteristics of sound fields. This report provides basic data to solve this problem using spatial distribution characteristics of parameters in halls. Three large-scale measurement campaigns were conducted in which impulse responses were measured at 1427, 180, and 511 locations. Relatively large differences in the obtained parameters compared with well-known difference limens suggest that determining the distributions of parameter values is important. Contour maps are therefore used to display the distributions along with mean values.     

Monaural and binaural parameters of Rudolfinum concert halls in Prague

Objective parameters for the evaluation of the Rudolfinum concert hall in Prague, Czech Republic are the focus of the present article. The measured results for Reverberation parameters, Energy parameters, Intelligibility parameters, and Spatial parameters of the building’s two halls are presented and discussed including a comparison with recommended values or theory, as well as several unique architectural and acoustical qualities of the halls. The early lateral energy fraction parameter is measured by the intensity probe method discussed in the supplement. The performance is verified by tests in anechoic and reverberant rooms.     

Nonexponential decay of spin polarization in rubidium vapor

Experimental data on the decay of spin polarization in rubidium vapor are compared with inferences of the theory developed by the authors for spin-polarized Boltzmann gases. It is demonstrated that the nonexponential pattern of polarization decay points to the anisotropy of the indicatrix of inelastic scattering of rubidium atoms at high temperatures. Estimates are obtained of the degree of anisotropy of such inelastic scattering, i.e., scattering with variation of total spin. Under the experimental conditions, the indicatrix of inelastic scattering turns out to be highly extended forward, with the degree of anisotropy of the order of 1000.     

A group of objective acoustical criteria for concert halls

To establish a definite list of the most important objective criteria for concert halls is not easy, but it is suggested that a group of four or five criteria may be sufficient to characterise, in general, the ‘acoustics’ of a specific hall. Comparing various concert halls by means of their measured objective criteria indicates that a rather simple method of ranking is feasible.     

Nonexponential decay in the quantum dynamics of nanosystems

The quantum dynamical problem is solved for a system coupled to an equidistant-spectrum bath with the energy difference Ω between the neighboring levels n and n + 1 and the coupling matrix elements C _n ² = C ²(1 + Δ^?2 n ²)^?1 constraining the energy interval comprising the bath states interacting with the system. The evolution in the strong-coupling limit is determined by two parameters, Γ = πC ²/Ω ? 1 and α = Γ/Δ. If α ≠ 0, then the decrease in the population in the initial cycle with a period of 2π/Ω is not exponential and the effective rate constant increases with time. The results qualitatively explain the appearance of nonexponential relaxation regimes for a dense-spectrum nanosystem and predict the possibility of the multiple recovery of the initial-state population.     

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.     

Nonexponential quasiparticle decay and phase relaxation in low-dimensional conductors

We show that in low-dimensional disordered conductors, the quasiparticle decay and the relaxation of the phase are not exponential processes. In the quasi-one-dimensional case, both behave at small time as e(-(t/tau(in))3/2) where the inelastic time, tau(in), identical for both processes, is a power T-2/3 of the temperature. The nonexponential quasiparticle decay results from a modified derivation of the Fermi golden rule. This result implies the existence of an unusual distribution of relaxation times.     

Taking account of loudness constancy for the loudness criterion for concert halls

One of the surprises from analysis of results of an objective and subjective study of British concert halls (1988 Acustica 66, 1–14) was that the subjective judgement of loudness in concert halls is influenced not only by sound level but also by the source–receiver distance. This response implies that the same sound level is judged louder at positions further from the orchestra platform. Whereas level decreases with distance in actual halls, loudness is judged more-or-less independent of position in average halls (except at positions close to the platform and seats overhung by balconies). As an observation it ties in with evidence from experimental psychologists for loudness constancy throughout a space. The sound strength G is the sound level in an auditorium normalised to the sound power level of the source; the traditional criterion of acceptability for level is that G ? 0 dB. The paper proposes that, on the basis of subjective evidence and objective behaviour in auditoria, the criterion for G should not be a unique value of G but rather a function of source–receiver distance.     

座位数在音乐厅和歌剧院计算中的作用

在对Leo Beranek著《音乐厅和歌剧院》一书中所提供的80余所音乐厅和歌剧院声学参数的测定结果数据分析的基础上,经过简单的数学处理和简化,提出一些个人见解:强度因子G和座位数N的关系;对于N小于和等于2000的音乐厅,空场早期衰变时间EDT等于空场混响时间。文中给出在N＜ 2000的情形下空场EDT的计算。座椅数是决定厅堂容积的出发点,由此做出两个厅堂的初步设计实例。