evaluation*of*a*new*active*acoustics* system*in*music… ae… · system*in*music*performance*of*...
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![Page 1: Evaluation*of*a*New*Active*Acoustics* System*in*Music… AE… · System*in*Music*Performance*of* String*Quartets* Doyuen’Koand’ Wieslaw Woszczyk Belmont(University,(Nashville,(USA](https://reader033.vdocument.in/reader033/viewer/2022050609/5fb087849bb4124f445a0366/html5/thumbnails/1.jpg)
Evaluation of a New Active Acoustics System in Music Performance of
String Quartets
Doyuen Ko and Wieslaw WoszczykBelmont University, Nashville, USAMcGill University, Montreal, Canada
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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
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Impulse response based active acoustics
Real-time convolution engine
M M
Capture Reproduction
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16 omni-‐directional dodecahedral speakers and 4 sub-‐woofers (196 drivers in total)
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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
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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
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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
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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)
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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
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Preference
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Factor analysis
Quality of reverberation
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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)
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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.