Evaluation*of*a*New*Active*Acoustics* System*in*Music… AE… · System*in*Music*Performance*of*...
Transcript of Evaluation*of*a*New*Active*Acoustics* System*in*Music… AE… · System*in*Music*Performance*of*...
Evaluation of a New Active Acoustics System in Music Performance of
String Quartets
Doyuen Ko and Wieslaw WoszczykBelmont University, Nashville, USAMcGill University, Montreal, Canada
Objectives
• Evaluate musicians’ overall impression of anew active acoustic system
• Evaluate the effects of an active acousticsystem on musicians’ perception on acoustics
• Investigate the relationship between objectiveroom acoustic parameters and musicians’preference on acoustics
Impulse response based active acoustics
Real-time convolution engine
M M
Capture Reproduction
16 omni-‐directional dodecahedral speakers and 4 sub-‐woofers (196 drivers in total)
Previous publications• Woszczyk, W., Ko, D., & Leonard, B. (2009).Convolution-‐Based Virtual Concert Hall Acoustics UsingAural Segmentation and Selection of MultichannelImpulse Responses (pp. 1–8). Presented at the Inter-‐Noise, Ottawa,Canada.
• Woszczyk, W., Ko, D., & Leonard, B. (2010). AConvolution-‐Based System for Virtual Acoustic Supportof Performing Musicians. Presented at the 129th AudioEngineering Society Convention, San Francisco, USA.
• Woszczyk, W., Ko, D., & Leonard, B. (2012). VirtualAcoustics at the Service of Music Performance andRecording. Archives of Acoustics, 37(1), 109–113.doi:10.2478/v10168-‐012-‐0015-‐6
Evaluation• 11 professional stringquartets (44 musicians)
• Average 21.3 years of formalclassical music training
• Played a short excerpt oftheir choice in each givenacoustic condition
• Filled out the questionnaireafter playing in eachcondition
3 acoustic conditions
• Condition 1 – VAT system off • Condition 2 – VAT system on (with ER, mid and late reverberation)• Condition 3 – VAT system on with ER, mid and extended late reverberation
Condi&on'1' Condi&on'2' Condi&on'3'
T30'(sec)' 1.38' 1.74' 2.08'
0'
0.5'
1'
1.5'
2'
2.5'
sec$
T30$(Reverb$-me)$
Condi&on'1' Condi&on'2' Condi&on'3'
ST1'(dB)' 013.8' 013.2' 013.1'
014'
013.8'
013.6'
013.4'
013.2'
013'
012.8'
012.6'
dB#
ST1#(Stage#support)#
Condi&on'1' Condi&on'2' Condi&on'3'
Ltotal'(dBSPL)' 88.2' 88.2' 88.3'
87.5'
88'
88.5'
89'
dBSPL&
Ltotal&(Level)&
Condi&on'1' Condi&on'2' Condi&on'3'
IACC'(full)' 0.456' 0.43' 0.414'
0.39'
0.4'
0.41'
0.42'
0.43'
0.44'
0.45'
0.46'
correla'
on)
IACC)(Spa'al)impression))
Objective measurements (ISO3382-‐1)
Ease of hearing selvesEase of hearing others
Ease of maintaining tempoEase of hearing dynamics
Amount of reverberationQuality of reverberation
EnvelopmentHeight sensation
Tonal balanceClarity
Preference
11 questions for musicians
Preference
Factor analysis
Quality of reverberation
Multiple Regression Analysis (MRA)Dependent variable: preference
Quality of reverberationAmount of reverberationHearing other musicians
(R2 = 0.49)
Quality of reverberationHearing other musicians
Height sensation(R2 = 0.542)
Conclusion• The results show a strong preference for enhancedacoustics over inherent acoustics of the space.
• Factor analysis revealed musicians are able to reliablydistinguish and describe the acoustic differencesbetween three acoustic conditions. Three primaryunderlying perceptual dimensions are: Stagesupport, spatial impression and tonal balance.
• ‘Quality of reverberation,’ ‘Amount of reverberation,’‘Hearing other musicians’ and ‘Height sensation’were four most salient attributes explainingmusicians’ preferences on acoustic conditions.