![]() ![]() The accuracy of a G measurement depends on the accuracy with which the power level of the sound source can be determined or with which the measurement system can be calibrated. ISO 3382-1 describes several methods to measure G. The sound strength G is a room acoustical parameter used to investigate the sound distribution in a hall or to compare the loudness between different halls. Moreover, the results confirm that the geometry and the shape of the Eszterháza Opera House favored the Prince’s view and listening, amplifying onstage voices and focusing the sound into his box. The acoustic parameters are considered acoustically favorable both for the music and for the speech transmission too. The obtained results show that the union between the large volume of the theatre and the reflective materials makes the Opera House a reverberant space. With the 3D model of the theatre, acoustic simulations were performed using the architectural acoustic software Ramsete to understand its acoustical characteristics and if the architecture of the Eszterháza Opera House could favor the Prince’s listening. This study aims to reconstruct the original shape and materials of the theatre, thanks to the documents founded by researchers in the library of the Esterházy family at Forchtenstein, the Hungarian National Library, and analyze its acoustic behavior. The Opera House disappeared from the palace complex maps around 1865 and was destroyed permanently during the Second World War. The composer that inextricably linked his name to this theatre was Haydn that served the prince and composed pieces for him for many years. The Eszterháza Opera House was a theatre built by the will of the Hungarian Prince Nikolaus Esterházy in the second half of the 18th century that had to compete in greatness and grandeur against Austrian Empire. Finally, various types of benchmark tests were suggested for various comparison goals. Limitations and the risks of bias in this review were discussed. The average value of most indicators showed a clear systematic deviation from zero, providing hints for future algorithm improvements. The prediction accuracy of inter-aural cross-correlation coefficients (IACC) was even higher at low frequencies than it was at high frequencies. However, EDT accuracy did not exhibit significant frequency sensitivity. In terms of frequency, the simulation was generally less accurate at lower frequencies, which occurred at T 30, G, D 50 and T 20. Although a larger sample size was required for further validation, simulations of T 30, EDT, and D 50 all showed an increase in accuracy with increasing time from 1979 to 2020, except for G. For non-iterative simulation, the simulation accuracies of most indicators were outside their respective just noticeable differences. The accuracy of these indicators differed greatly. The results revealed that the most used acoustic indicators were early decay time (EDT), reverberation time ( T 30 ), strength ( G ), and definition ( D 50 ). A standardised data extraction form was used to collect the modelling information, software/algorithm, indicators for comparison, and other information. The inclusion criteria were as follows: (1) the searched article should be focused on the field of room acoustics (reviews were excluded) (2) a computer simulation algorithm should be used (3) it should be clearly stated that the simulated object is a performance space and (4) acoustic measurements should be used for comparison with the simulation. The databases of Web of Science and Scopus were searched for peer-reviewed journal articles published in English between 19, using the keywords for “simulation”, “acoustic”, “performance space”, “measure”, and their synonyms. ![]() ![]() This article aims to review the development of acoustic computer simulation for performance spaces. The spatial distribution of the acoustic parameters in the audience area of the venue by measured parameters and simulation mappings enables the establishment of three zones of acoustic comfort, and are corroborated by the values of the Ando-Beranek function which provide a global quality coefficient of each zone. ![]() The procedure is applied to the Maestranza Theatre of Seville, built for the Universal Exhibition in 1992. The initial virtual acoustic model is validated by comparing the other monaural and binaural acoustic parameters measured in the room in terms of their perception differential threshold. The digital models have been tuned by means of an iterative fitting procedure that uses the reverberation times measured on site for unoccupied conditions with the orchestra shell on the stage. In this work, simulation techniques have been implemented to study the sound fields of a multi-configurable performance enclosure by creating computer acoustic 3D-models for each room configuration. ![]()
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