By Dr. Yoichi Ando (auth.)
The acoustic caliber of a live performance corridor has often posed a mysterious puzzle, specifically, what actual features of the sound box can produce more desirable sound for the listener. the writer has been probing for greater than adecade into the subjective traits most well-liked for musical and speech sounds. the results of his huge investigations - the invention that 4 and basically 4 self sustaining parameters give a contribution successfully to stable acoustics - is summarized within the current publication. the potential of calculating acoustical caliber at any seat in a proposed live performance corridor is a distinct and fairly necessary point of Ando's layout process. substitute architectural schemes may be in comparison in keeping with the variety of seats which exceeds a formerly approved minimal normal of acoustical quality.
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Additional info for Concert Hall Acoustics
06 0 36 -;::=========== "". 1 b are used. 2 Simulation of Sound Localization As mentioned above, the directional information of the sound must be taken into consideration in simulating sound fields in concert halls. 6] first simulated sound localization in the horizontal plane by a two-loudspeaker reproduction system. 7]. Referring to the lower part of Fig. 6, let the pressure impulse responses for the paths from the two loudspeakers Ll and L2 to the entrances of the left and right ear canals be h l,rl (t) and h l,r2(t), respectively.
20. The basilar membrane is so flexible that each section can move independently of the neighboring section. 49) where x is the position along the membrane, m (x) specifies the membrane mass, r(x) is the acoustic resistance and s(x) is the stiffness of the membrane. 50) where 2P(x, co) is the pressure across the membrane. 51) as shown in Fig. 21. Near the stapes O Ms) 10. > Qj Fig. 5. 8) . • : Music piece of motif B: 0 - 5 s; 0 : music piece of motif B: 5 -15 s; (subscript) amplitude of reflection -tSdB ~ a S \ \ \ \ \ ['' ' ' Qj :::J ,, , VI VI Qj '- c.. I "0 C 0 VI Qj -S ,, I I I I I I I I I I I ,, > ~ Qj c::: b ,, , '- :::J 53 -10. I 0. 20. 40. 60. 80. 8 10. IACC - - Fig. 6a, b. 8]. (a) Contour lines of equal preference. Scale values of preference are obtained by the law of comparative judgment, Sect. 1 (8 Japanese subjects); (b) Magnitude of IACC as a function of the amplitude of the single reflection.
Ms) 10. > Qj Fig. 5. 8) . • : Music piece of motif B: 0 - 5 s; 0 : music piece of motif B: 5 -15 s; (subscript) amplitude of reflection -tSdB ~ a S \ \ \ \ \ ['' ' ' Qj :::J ,, , VI VI Qj '- c.. I "0 C 0 VI Qj -S ,, I I I I I I I I I I I ,, > ~ Qj c::: b ,, , '- :::J 53 -10. I 0. 20. 40. 60. 80. 8 10. IACC - - Fig. 6a, b. 8]. (a) Contour lines of equal preference. Scale values of preference are obtained by the law of comparative judgment, Sect. 1 (8 Japanese subjects); (b) Magnitude of IACC as a function of the amplitude of the single reflection.