http://ieeexplore.ieee.org/iel5/5/31047/01444179.pdf

Fundamentals of acoustics

Antenna Theory And Design

From the Publisher: 
This is undoubtedly the most accessible book on digital signal processing (DSP) available to the beginner. Using intuitive explanations and well-chosen examples, this book gives you the tools to develop a fundamental understanding of DSP theory. The author covers the essential mathematics by explaining the meaning and significance of the key DSP equations. Comprehensive in scope, and gentle in approach, the book will help you achieve a thorough grasp of the basics and move gradually to more sophisticated DSP concepts and applications.

数字信号处理 = Understanding digital signal processing

Fourier Acoustics Sound Radiation And Nearfield Acoustical Holography

A round robin was conducted to evaluate the state of the art of room acoustic modeling software both in the physical and perceptual realms. The test was based on six acoustic scenes highlighting specific acoustic phenomena and for three complex, “real-world” spatial environments. The results demonstrate that most present simulation algorithms generate obvious model errors once the assumptions of geometrical acoustics are no longer met. As a consequence, they are neither able to provide a reliable pattern of early reflections nor do they provide a reliable prediction of room acoustic parameters outside a medium frequency range. In the perceptual domain, the algorithms under test could generate mostly plausible but not authentic auralizations, i.e., the difference between simulated and measured impulse responses of the same scene was always clearly audible. Most relevant for this perceptual difference are deviations in tone color and source position between measurement and simulation, which to a large extent can be traced back to the simplified use of random incidence absorption and scattering coefficients and shortcomings in the simulation of early reflections due to the missing or insufficient modeling of diffraction.A round robin was conducted to evaluate the state of the art of room acoustic modeling software both in the physical and perceptual realms. The test was based on six acoustic scenes highlighting specific acoustic phenomena and for three complex, “real-world” spatial environments. The results demonstrate that most present simulation algorithms generate obvious model errors once the assumptions of geometrical acoustics are no longer met. As a consequence, they are neither able to provide a reliable pattern of early reflections nor do they provide a reliable prediction of room acoustic parameters outside a medium frequency range. In the perceptual domain, the algorithms under test could generate mostly plausible but not authentic auralizations, i.e., the difference between simulated and measured impulse responses of the same scene was always clearly audible. Most relevant for this perceptual difference are deviations in tone color and source position between measurement and simulation, which to a large exten...

/pdf/a-round-robin-on-room-acoustical-simulation-and-auralization-3645rbhtbm.pdf

A round robin on room acoustical simulation and auralization

In a series of measurements, the sound power of 40 musical instruments, including all standard modern orchestral instruments, as well as some of their historic precursors from the classical and the baroque epoch, was determined using the enveloping surface method with a 32-channel spherical microphone array according to ISO 3745 Single notes were recorded at the extremes of the dynamic range (pp and ff) over the entire pitch range In a subsequent audio content analysis, audio features were determined for all 3482 single notes using the timbre toolbox In order to analyze the relative contributions of timbre- and amplitude-related properties to the expression of musical dynamics in different instruments, Bayesian linear discriminant analysis and generalized linear mixed modelling were employed to determine those audio features discriminating best between extremes of dynamics both within and across instruments The results from these measurements and statistical analyses thus deliver a comprehensive picture of the acoustical manifestation of “musical dynamics” with respect to sound power and timbre for all standard orchestral instruments

/pdf/sound-power-and-timbre-as-cues-for-the-dynamic-strength-of-1t0wdar2ex.pdf

Sound power and timbre as cues for the dynamic strength of orchestral instruments.

The Acoustics of Renaissance Theatres in Italy

Several approaches to data-based binaural synthesis have been published that are based on the analysis of sound fields captured by spherical microphone arrays. The captured sound field is decomposed into plane waves which are then auralized with head-related transfer functions (HRTFs). So far head-rotations of the listener were considered for dynamic binaural synthesis. We propose an analytic method to consider translatory head-movements as well. A straightforward calculus in the spatial frequency domain is presented and will be evaluated.

/pdf/data-based-binaural-synthesis-including-rotational-and-2omzl527jp.pdf

Data-Based Binaural Synthesis Including Rotational and Translatory Head-Movements

The transparent binaural reproduction of virtual acoustic environments requires a headphone system with high spectral bandwidth, with a transfer function as linear as possible, a high signal-to-noise ratio (SNR), sufficient crosstalk attenuation and a frequency response which is robust with respect to repositioning and interindividually differing morphology [1],[2]. Additionally, for in-situ comparisons with real sound fields and for low-frequency extension with subwoofers, such a system should be sufficiently transparent to exterior sound fields and comply to the ’free air equivalent coupling’-criterion (FEC) i.e. approach the acoustic impedance of free air as seen from the ear canal entrances [1]. Moreover, it should be easy to perform an individual headphone transfer function compensation, e.g. with miniature in-ear microphones [3]. Finally, the system should be combinable with other technical components of virtual environments such as 3D shutter glasses, head mounted displays and head tracking sensors. For this purpose, an extraaural headphone system was developed (BK211, fig. 1), featuring an extraaural headset, an IIR-/FIR-filter DSP-system and a low noise power amplifier. Measurements show that the system fulfills the requirements specified above better than other commercially available headphones.

https://www2.ak.tu-berlin.de/%7eakgroup/ak_pub/2012/Erbes_et_al_2012_An_extraaural_headphone_system_for_optimized_binaural_reproduction.pdf

An extraaural headphone system for optimized binaural reproduction

Wave Field Synthesis allows the reconstruction of an arbitrary target sound field within a listening area by using a secondary source contour of spherical monopoles. While phase correct synthesis is ensured over the whole listening area, amplitude deviations are present besides a predefined reference curve. So far, the existence and potential shapes of this reference curve was not extensively discussed in the Wave Field Synthesis literature. This paper introduces improved driving functions for 2.5D Wave Field Synthesis. The novel driving functions allow for the control of the locations of amplitude correct synthesis for arbitrarily shaped-possibly curved-secondary source distributions. This is achieved by deriving an expressive physical interpretation of the stationary phase approximation leading to the presented unified Wave Field Synthesis framework. The improved solutions are better suited for practical applications. Additionally, a consistent classification of existing implicit and explicit 2.5D sound field synthesis solutions as special cases of the unified framework is given.

Improved Referencing Schemes for 2.5D Wave Field Synthesis Driving Functions

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