Title: Multichannel solutions for sound enhancement and acoustic conditions in concert halls and operas
1Multichannel solutions for sound enhancement and
acousticconditions in concert halls and operas
- David Griesinger
- Lexicon
- dgriesinger_at_lexicon.com
- www.world.std.com/griesngr
2Major Goals
- To explain and demonstrate the degree to which
the acoustics of halls and operas may not be
the same as the sound in these spaces. - The dependence of acoustics on visual aspects of
architecture and on the expectations of the
listeners may be underappreciated. - To show how physics and psycho acoustics combine
to produce absolute standards of acoustic quality
for sound in opera houses and concert halls. - To suggest that sonic distance the perceived
audible distance between a performer and a
listener is the major descriptor of this
acoustic quality in an opera house. - To explain and demonstrate how electronic
acoustic enhancement can be used to achieve
higher sonic quality in some halls. - To play as many musical examples as possible
using multichannel discrete surround and two
channel to five channel conversion.
3What constitutes good sound?
Leo Beranek JASA 107 pp368-383 Jan. 2000 rank
ordered houses by asking conductors to fill out a
questionnaire. Semperoper Dresden is ranked
nearly at the top, as is the Teatro alla
Scalla. But the SOUND of these two theaters is
extremely different. Semperoper is highly
reverberant, and La Scalla is highly damped. In
practice the remembered sound of an opera house
can depend strongly on non-sonic factors.
4High-Definition Demo
- Brahms F minor Piano Quintet
- Performed by the faculty of the
Point-Counter-Point Summer camp. - Video is high-definition (with some artifacts.)
- Audio is two channel, single microphone pick-up.
- Played here (after post production) with
two-channel to five-channel processing.
5Why is there so much confusion?
- 1. Research methods based on questionnaires
suffer from a fundamental properties of acoustic
perception - The supression of acoustic perception after a
short time period. - The inability to accurately remember the sound
quality. - 2. We might be asking the wrong questions to the
wrong people - The conductor is only one of the many people who
work to present opera to the public - For most of these people the music is secondary
to the drama. Their job is to get the story and
the emotion to the audience. - To most people involved in opera production the
Clarity of the singers and the balance between
them and the orchestra is of the utmost
importance.
6Measurement methods for halls and operas are
inadequate and often misleading
- Sabines reverberation time is useful, but it is
the combination of reverberation time and
reverberation level that we perceive. - Jordans EDT measure was intended to measure the
direct/reverberant ratio. - But EDT is based on the decay of very long
sounds, and does not measure the hall response to
short sounds. - Schroeders method of measuring EDT (which is now
an international standard) gives results that are
independent of the direct/reverberant ratio. - Schroeder misunderstood the purpose of the
measure. - His method yields results essentially identical
to the reverberation time. - C80 and related measures use 80ms as a division
point between early and late. - But in fact human perception utilizes THREE time
regions 0-50ms, 50-150ms, and 150ms.
Intelligibility correlates best with C50, not
C80, and reverberance correlates best with the
ratio between the energy from 0-50ms to the
energy 150ms and greater.
7It is difficult to remember the sound of acoustics
- Human physiology suppresses acoustic perception.
- After 5 to 10 minutes in a particular space we
lose the ability to perceive its acoustic
properties. - Work by Shin-Cunningham suggests that the process
of extracting speech information from acoustic
interference is adaptive. - We adapt to a particular situation in 5 to 10
minutes, and the adaptation is unconscious. - After the adaptation period the perception of
muddiness (mulmig or glauque) becomes difficult
to perceive and to remember. - As a consequence, it is difficult to remember the
properties of an acoustic space, particularly for
speech. - Unless intelligibility is seriously compromised.
- We need to compare acoustic sounds BEFORE our
physiology adapts to them. - We need relatively rapid A/B comparisons to
accurately rank acoustic quality.
8Boston Cantata Singers in Jordan Hall
9Cantata Singers Rakes Progress
Performance in Jordan Hall, January 26, 2003.
Reverberation time in Jordan 1.4 seconds at
1000Hz. This is similar to the Semperoper
Dresden. The typical audience member is 3
reverb radii from this singer. (reverb 10dB
stronger than direct) The dramatic consequences
are highly audible.
It is amazing that in spite of the enormous
acoustic distance, the performers still manage to
project emotion to the listener. The performance
received fabulous reviews. But the situation is
not ideal. One reviewer commented on the
regrettable lack of surtitles. The opera is in
English.
10Distance in Jordan Hall
- Reverberation time (full) measured as 1.4
seconds at 1000Hz. - Reverberation radius 10 feet inside the stage
house, 14 feet in the hall. - Thus a typical listener will be 3 reverberation
radii away from a singer who is fully upstage.
This implies a direct/reflected ratio of 10dB. - Jordan Hall is not renowned as an opera venue
perhaps we are hearing why. - But the size and reverberation time are almost
identical to the Semperoper Dresden, which is
currently regarded as one of the best!
11Binaural Recordings
- Manfred Schröder suggested that Binaural
recordings could be used to compare different
concert halls in the laboratory. - The method has many difficulties
- Matching of pinnae shape of the microphone to the
listener. - Matching of the playback equipment to the
listener. - These difficulties are particularly acute in
studying concert hall acoustics. - Schröder suggested the use of a cross-talk
canceller to solve some of these problems. - However, in our experience the differences
between opera houses are so large that relatively
simple recording and playback equipment can
capture the essential aspects of the sound. - And that these differences can easily be heard
even with loudspeaker playback.
12Glasses microphones
dual lavaliere microphones from Radio Shack
plug directly into a mini-disk recorder. The
result is free of diffraction from the pinnae of
the person making the recording, which is an
advantage.
When combined with a calibrated pair of
headphones, this system reproduces sonic
distance, intelligibility, and envelopment quite
well.
13Binaural Examples in Opera Houses
- It is very difficult to study opera acoustics, as
the sound changes drastically depending on - the set design,
- the position of the singers (actors),
- the presence of the audience, and
- the presence of the orchestra.
- Binaural recordings made during performances can
give us important clues. - Here is a short example from the Semper Oper
Dresden. This hall was rebuilt in 1983, and
considerable effort was expended to increase the
reverberation time. The RT is over 1.5 seconds
at 1000Hz, which implies a reverberation radius
of under 14. - This hall is ranked nearly the best in Leos
survey. Note the excessive distance of the
singers, and the low intelligibility
14Staatsoper unter den Linden Berlin
The Staatsoper Berlin is similar in size to the
Semperoper, and the acoustics in Berlin are
probably much closer to the original acoustics in
Dresden RT at 1000Hz 0.9s (without LARES). With
LARES the RT at 1000Hz is 1.1s, but the RT is
1.7s at 200Hz. Here is a recording made from the
parquet, about 2/3s of the way to the back wall.
Although this hall does not even appear in Leos
survey, it is currently by far the most vital of
the Berlin Opera houses.
15Deutsche Oper, Berlin
In spite of the impressive wood paneling, the
sound in this hall is rated between pretty poor
and gastly by the people I interviewed during a
site visit.
It is perhaps significant that this hall is
moribund. They are searching for both a new
music director and a new general manager.
Concerning the acoustics, I was told that they
are just waiting for the architect to die, so
they can re-design it. But how should it be
redesigned? Just what is wrong with it as it is?
16Bolshoi
The old Bolshoi in Moscow is similar in design to
the Staatsoper but larger. The recording was
made from the back of the second ring, and is
monaural. RT 1.1 seconds at 1000Hz, rising at
low frequencies.
In my opinion the sound in this hall is extremely
good. The dramatic impact of the singers is
phenomenal for such a large hall, and envelopment
in the parquet is high. This theater is
extremely popular nearly impossible to get into
without paying a scalper 100.
17New Bolshoi
The New Bolshoi is very similar to the Semperoper
Dresden. The Semperoper was the primary model
for the design. RT 1.3 seconds at 1000Hz.
What is it about the SOUND of this theater that
makes communication with the singers so difficult?
The general manager views this theater as
unsuccessful acoustically. There have been many
complaints the singers are both too loud and
too hard to hear. This theater suffers greatly
from having the old Bolshoi next door!
18The Sound of Opera the blind opera fan.
- What distinguishes the SOUND of the New Bolshoi
from the Staatsoper Berlin, or the Royal Theater,
Copenhagen? - Reverberation time?
- Intelligibility?
- Envelopment?
- Balance?
- All might be involved
- An informal poll of acousticians gave the result
that EVERY ONE thought 1.5 seconds was the ideal
reverberation time. - And yet the two Bolshoi theaters dramatically
contradict this idea. - Intelligibility in ALL the theaters I have
visited is satisfactory. Here is dialog from the
Semperoper - Envelopment in the parquet of the old Bolshoi is
high, even with a low reverberation time. Here
is a segment from Gisielle - Balance IS important but it is not sufficient
to explain the differences we hear.
19Balance between the orchestra and the soloists
Reverberation time affects balance, due to the
directional properties of the human voice. Note
that the loudness of the orchestra increases
about 1.5dB as RT rises from 1s to 1.5s. This
rise is not sufficient to explain the large
dramatic differences between Semperoper Dresden
and Staatsoper Berlin.
20Sonic Distance
- Even casual listening to the examples in this
paper reveals that the most obvious difference is
how far away the voices seem. - Loudness is a primary distance cue.
- This distance cue can be overcome by trained
actors and singers, who know how to project their
voices with sufficient energy. - If you have the money you can hire singers with
more vocal power. - The main secondary cue for distance is the ratio
between the loudness of the direct sound and
reflected energy that arrives between 50 and
150ms after the direct sound. - When this energy is excessive the singers can
sound loud, but muddled and far away. - Dramatic connection between the actors and the
audience suffers.
21Human sound perception Separation of the sound
field into foreground streams.
- Acousticians are entranced with reflections
rather arbitrarily divided into early and
late. - But human perception works differently.
- Human brains evolved to understand speech, and to
ignore reflections.
Third-octave filtered speech. Blue 500Hz.
Red 800Hz Speech consists of a series of
foreground sound events separated by periods of
relative silence, in which the background sound
can be heard.
22One of the most important preliminary functions
of human hearing is stream formation
- Foreground sound events (phones or notes) must be
separated from a total sound field containing
both foreground and background sounds
(reverberation, noise). - Foreground events are then assembled into streams
of common direction and/or timbre. - A set of events from a single source becomes a
sound stream, or a sound object. A stream
consists of many sound events. - Meaning is assigned to the stream through higher
level neural functions, including phoneme
recognition and the combination of phonemes into
words. - Stream separation is essential for understanding
speech - When the separation of sound streams from noise
is easy, intelligibility is high. - Separation is degraded by noise and
reverberation. - This degradation can be measured by computer
analysis of binaural speech recordings. - Stream formation is entirely sub-conscious.
- We can consciously choose which stream listen to,
but we can not influence the separation process.
23Separation of binaural speech through analysis of
amplitude modulations
Reverb forward Reverb backward
Analysis into 1/3 octave bands, followed by
envelope detection. Green envelope Yellow
edge detection By counting edges above a certain
threshold we can reliably count syllables in
reverberant speech. This process yields a measure
of intelligibility not distance.
24Analysis of binaural speech
- We can then plot the syllable onsets as a
function of frequency and time, and count them.
Reverberation forward Reverberation
backwards
Note many syllables are detected (30)
Notice hardly ANY are detected (2)
RASTI will give an
identical value for both cases!!
25How do we perceive distance and space?
- Reflected energy interferes with itself at the
listeners ears, producing fluctuations in the
sound pressure. - We perceive fluctuations in level during a sound
event and up to 150ms after the end of the sound
as a sense of distance from the sound source. - If the reflections are spatially diffuse (from
all directions) the fluctuations will be
different in each ear. - Fluctuations that occur during the sound event
and within 50ms after the end of the event
produce both a sense of distance and the
perception of a space around the source. - This is Early Spatial Impression (ESI)
- The listener is outside the space and the sound
is not enveloping - But the sense of distance is natural and
pleasant. - Spatially diffuse reflections later than 50ms
after the direct sound produce a sense of space
around the listener. - This can be perceived as envelopment. (Umgebung)
26The downside of Distance Perception
- Reflections during the sound event and up to
150ms after it ends create the perception of
distance - But there is a price to pay
- Reflections from 10-50ms do not impair
intelligibility. - The fluctuations they produce are perceived as an
acoustic halo or airaround the original sound
stream. (ESI) - Reflections from 50-150ms contribute to the
perception of distance but they degrade both
timbre and intelligibility, producing the
perception of sonic MUD. (Mulmig,Glauque) - The addition of mud to a speech or singing voice
has serious dramatic consequences
27Distance and Drama Copenhagen New Stage
We were asked to improve speech intelligibility
in this theater, specifically for drama. Using
some extraordinary technology we succeeded. But
we also increased the sense of sonic
distance. The theater directors decided to fix
the intelligibility problems by improving the
diction of the actors. We completely agreed!
28Example of reflections in the 50-150ms range
Balloon burst in the New Bolshoi. Source was on
the forestage, and the receiver was in the
stalls at row 10. Note the HUGE burst of energy
about 50ms after the direct sound. The 1000Hz
0ctave band shows the combined reflections to be
6dB stronger than the direct sound. The sound
clip shows the result of this impulse response on
speech.
The result (in this case) is a decrease in
intelligibility and an increase in distance
29Human Perception the background sound stream
- We perceive the background sound stream in the
spaces between the individual sound. - The background stream is perceived as continuous,
even though it may be rapidly fluctuating. - When masking by foreground sounds is low the
background stream is perceived at an absolute
level, not as a ratio to the foreground sound. - This is why playing a recording at a higher level
cause the perceived amount of reverberation to
increase. - Perception of the background stream is inhibited
for 50ms after the end of a sound event, and
reaches full sensitivity only after 150ms.
30Example of foreground/background perception (as a
cooledit mix)
Series of tone bursts (with a slight vibrato)
increasing in level by 6dB Reverberation at
constant level Mix with direct increasing 6dB
Result backgound tone seems continuous and at
constant level
31Example of background loudness as a function of
Reverberation Time
Tone bursts at constant level, mixed
with reverberation switching from 0.7s RT to 2.0s
RT, and reducing in level 8dB Output perceived
background is constant! (But the first half is
perceived as farther away!)
Note the reverb level in the mix is the same at
150ms and greater. One gets the same results
with speech.
32Summary Perceptions relating to stream
separation
- First is the creation of the foreground stream
itself. The major perception is intelligibility - Second is the formation of the background sound
stream from sounds which occur mostly 150ms after
the direct sound ends. The perception is
reverberance - Third is the perception of Early Spatial
Impression (ESI) from reflections arriving
between 10-15ms and 50ms after the end of the
direct sound. The perception is of distance and
acoustic space around the source. - Fourth is the timbre alteration and reduction of
intelligibility due to reflections from 50 to
150ms after the end of the direct sound event.
The perception is MUD and distance. - Human hearing has been designed to suppress the
perception of ESI and of mud. As long as
intelligibility is more or less satisfactory,
after an adaptation period we no longer hear
these properties of the room. - And we usually can not remember them.
- This does NOT mean they are dramatically or
artistically unimportant!
33Synthetic Opera House Study
Dresden
Berlin
- We can use MC12 Logic 7 to separate the orchestra
from the singers on commercial recordings, and
test different theories of balance and
reverberation. - From Elektra Barenboim. Balanceand reverb in
original is OK by Barenboim.
Original Mix Vocals Downmix with reverb on
the orchestra, but not on the singers Reverb from
orchestra Reverb from singers Downmix with
reverb on the singers. Note the result is MUDDY!
34Localization
- Localization is related to stream formation. It
depends strongly on the onset of sound events. - IF the rise-time of the sound event is more rapid
than the rise-time of the reverberation - then during the rise time the IID (Interaural
Intensity Difference) and the ITD (Interaural
Time Difference) are unaffected by reflections. - We can detect the direction of the sound source
during this brief interval. - Once detected, the brain HOLDS the detected
direction during the reverberant part of the
sound. - And gives up the assigned direction very
reluctantly. - The conversion between IID and ITD and the
perceived direction is simple in natural hearing,
but complex (and unnatural) when sound is panned
between two loudspeakers. - Sound panning only works because localization
detection is both robust and resistant to change. - A sound panned between two loudspeakers is
profoundly unnatural.
35Detection of lateral direction through Interaural
Cross Correlation (IACC)
Start with binaurally recorded speech from an
opera house, approximately 10 meters from the
live source. We can decompose the waveform into
1/3 octave bands and look at level and IACC as a
function of frequency and time.
Level ( x time in ms y1/3 octave bands
640Hz to 4kHz) IACC Notice that there is NO
information in the IACC below 1000Hz!
36Position determination by IACC
We can make a histogram of the time offset
between the ears during periods of high IACC. For
the segment of natural speech in the previous
slide, it is clear that localization is possible
but somewhat difficult.
37Position determination by IACC (continued)
Level displayed in 1/3 octave bands (640Hz to
4kHz) IACC in 1/3 octave bands
We can duplicate the sound of the previous
example by adding reverberation to dry speech,
and giving it a 5 sample time offset to localize
it to the right. As can be seen in the picture,
the direct sound is stronger in the simulation
than in the original, and the IACCs - plotted as
10log10(1-(1/IACC)) - are stronger.
38Position determination by IACC (continued)
Histogram of the time offset in samples for each
of the IACC peaks detected, using the
synthetically constructed speech signal in slide
2.
Not surprisingly, due to the higher direct sound
level and the artificially stable source the
lateral direction of the synthetic example is
extremely clear and sharply defined.
39Summary so far
- Rank ordering opera houses or concert halls
through the memory of conductors is probably not
very useful. - When the sounds of a house can be compared
rapidly (through electronic enhancement or
recording) there is almost unanimous agreement on
the best sound, and this sound is highly
articulate. - The conductor will insist on some low-frequency
envelopment on the orchestra, as long as vocal
clarity is not compromised. - Considerable experimentation has found that there
is an ideal reverberation profile for opera
performances. - This profile is based on the physiological
properties of human hearing - And is thus the same profile as we need on a good
recording.
40The Ideal Reverberation above 1000Hz.
- The ideal profile has three distinct slopes.
- Reflections in the 20ms to 50ms time range with a
total energy of -4dB to -6dB relative to the
direct sound combine with the direct sound to
produce a decay rate under 1 second RT. - 2. Reflections in the 50ms to 150ms time range
decay much more gradually with a slope greater
than 2 seconds RT. - 3. Reflections after 150ms produce our perception
of reverberance, and should decay at a rate
appropriate to the music.
Aside this profile is a bit of a theoretical
concept. Measurement data in halls is
sufficiently chaotic and place dependent to
prevent one from actually observing a triple
slope !
41Most real rooms (at all frequencies) have
exponential decay
Exponential decay produces a single-slope. If
the direct sound is strong enough the effective
early decay can be short. - But then there will
be too few early reflections and the late
reverberation will be weak. If the direct sound
is weak, there will be too much energy between 50
and 150ms, and the sound will be MUDDY.
42The ideal reverberation profile is frequency
dependent
- For frequencies above 1kHz (speech) the ideal
profile has three distinct slopes - 1. The early slope consisting of the direct
sound and the 0-50ms reflections. This slope is
steeply down less than 1 sec RT. - 2. The middle slope 50 to 150ms is
relatively flat can have an RT of 3s or more.
This flat section of the profile maximizes the
late reverberant level while minimizing the
muddiness. - 3. The slope of the decay beyond 150ms can be
around 1.3 seconds RT for opera and up to 2
seconds RT for orchestra (if the early slope is
short enough to maintain clarity.) - Below 500Hz the decay probably should be single
sloped, with RT of 1.7s or higher. - This is because in our experience a single slope
decay at low frequencies produces the most
pleasing sound on an orchestra. - Thus in a hall with natural acoustics the
reverberation time and reverberation level should
increase below 500Hz.
43Theatro Alla Scala, Milan
Echograms from LaScala. (From Beranek)
illustrate these profiles Top curve - 2kHz
octave band, 0-200ms At 2kHz note the high direct
sound and low level of reflections in the
50-150ms time range. Bottom curve - 500Hz octave
band 0-200ms Note the high reverberation level
and short critical distance.
44Lets listen to Alla Scala!
- Matlab can be used to read these printed impulse
respones and convert them into real impulse
responses. - 1. First we read the .bmp file from a scan, and
convert the peaks in the file to delta functions
with identical time delay, and an amplitude
equivalent to the peak height. - All the direct sound energy is combined into a
single delta function, and the level of the
direct sound is normalized (relative to the rest
of the decay), so the 2kHz and 500kHz impulses
can be accurately combined. - 2. We then apply a random variable - 5ms to the
delay time to correct for the quantization in the
scan. - 3. We then extend the echogram to higher times by
tacking on an exponentially decaying segment of
white noise, with a decay rate equal to the
published data for the hall. - 4. We then filter the result for the 2kHz
echogram with a 1k high-pass filter, and combine
it with the 500Hz echogram low-pass filtered at
1kHz. - 5. If desired we can create a right channel and
a left channel reverberation by using a
different set of random variables in steps 2 and
3. - 6. We convolve a segment of dry sound with the
new - The result is sonically quite convincing!
45Alla Scala at 500Hz reading the plot
Top curve 500Hz measured impulse response as
given by Beranek. JASA Vol. 107 1, Jan 2000, pp
356-367 Bottom curve impulse response as
regenerated from delta functions, passed through
a 2kHz 6th order 1 octave filter. Note the
correspondence is more than plausable.
46Alla Scala 500Hz randomizing and extending
Top graph Alla Scala published data Bottom
graph regenerated impulse response after
randomization and extention.
47Listen to Alla Scala, NNT Tokyo, Semperoper
2kHz
500Hz
2kHz and 500Hz Impulse responses from Scala
Milan NNT Theater Tokyo Semper Oper
Dresden (All data from Beranek)
Original Sound
48How can we make a room ideal for opera?
- A conventional opera house can be made to
approach the sonic ideal by MAXIMIZING the reverb
radius for the soloists, for frequencies above
700Hz. - This involves arranging the audience and
reflectors around the stage to direct the sound
of the singers directly into the audience. - These architectural features increase the very
early energy while decreasing the sound power
available to the middle and late reverberation. - At the same time, we should try to maximize the
reverberation time below 500Hz. - To some degree, the success of a design can be
seen immediately in a picture taken from the
stage. - We need only notice how much absorption we see in
front of us. The more absorption and less bare
wall we see, the higher the clarity.
49Pictures from the stage
Deutsche Oper might as well tear it down.
New Bolshoi just add curtains on the back wall.
Deutsche Staatsoper vital, exciting, and alive
with or without the LARES.
50Compromises
- The fight between those who like clarity and
those who like reverberance is relatively recent. - Reveberance currently has the upper hand.
- One of the purposes of this talk is to suggest
that the emphasis on reverberance is misguided. - In every case where the author has worked closely
with a music director, the director has wanted a
more reverberant sound. like the Semperoper - However, when given the opportunity to hear what
Semperoper reverberation actually sounds like,
the director invariably prefers a much less
reverberant sound. - In fact, it is my observation that the difference
between the reverberance the conductor wants, and
the natural reveberance of a dry opera house is
extremely subtle. - In a controlled test at the Royal Theater in
Copenhagen (set up by Anders Gade) 80 of the
test subjects could hear no difference at all. - In every case where we have had the opportunity
to increase clarity, or improve the balance
between the singers and the orchestra, the
improvement has been noticed immediately, and
appreciated, by everyone, including the conductor.
51Ideal sound through electronics
- Electronic enhancement has the potential to
create ideal opera acoustics - But only if the system is capable of creating a
triple-slope decay at high frequencies, and a
single-slope decay at low frequencies. - This combination is not common with currently
available systems!
52Acoustic Feedback bane or boon?
- All enhancement systems have significant feedback
between the loudspeakers and the microphones. - A single slope decay with an RT of 1.7 seconds
MUST create a reverberation radius which is
relatively small usually under four meters in a
typical opera house. - If the pickup microphones are separated from each
sound source by more than this distance, they
MUST pick up more reverberation than direct
sound. - Current enhancement systems divide into two
types - Those that utilize the acoustic feedback to
increase the reverberation time directly. - Philips MCR
- Carmen
- And those that include a reverberation device in
the electronics, and couple this device
electronically to the hall. - Lares
- Paoletti (Stagetec)
- ACS, SIAP
- Only the second type are capable of creating a
dual or triple-slope decay
53Feedback and coloration
- Any time there is significant acoustic feedback
there will be coloration. - Acoustic feedback paths have complex frequency
response, and this response is audible. - This coloration must be minimized in a successful
design. - There are no easy solutions. Almost all systems
start with a multichannel design. - With many channels the individual response
variations in each channel tend to average out. - But each channel must have its own microphone and
speaker, and all devices must be separated
physically by the reverberation radius. - This physical separation is tricky to realize in
practice. - Alas, most available systems minimize the amount
of coloration by minimizing the system gain. - Most available systems are not capable of doing
very much at all. - This is sometimes an advantage, as Eckhard will
tell. - Some available systems minimize the coloration by
denying that feedback exists (ACS, and to some
degree SIAP)
54Lares System
- Lares uses a multichannel concept
- But it uses an electronic trick to allow a single
pair of microphones to drive a large number of
output channels (typically four or eight) - As a result it becomes practical to place the
microphones close to the performers. - The result is a cleaner pickup. The pickup
microphones contain less coloration and
reverberation. - The energy content in the 50 to 150ms time range
can be minimized this way (and only this way).
55Lares Block Diagram
A typical Lares installation includes two pickup
microphones and eight separate output
channels. Each microphone is connected to each
output channel through a separate, independently
time varying reverberation device. The frequency
dependence of the reverberant level, and the
frequency dependence of the reverberation time
can be separately adjusted. Lares also includes a
noise generator and 1/3 octave analyzer for
setting and verifying the overall system gain.
56Lares is highly resistant to coloration
- This is achieved through the multichannel design,
and the independent time variance. - The type of time variance used minimizes the
pitch-shift, which is not audible when the system
is correctly adjusted. - As a result a high reverberant level can be
achieved, even when the pickup microphones are
far from the sound sources. - And this is sometimes a problem. Customers turn
the system up too high, or insist on placing the
microphones too far away. - The result can be both muddiness and excessive
coloration (at least to my ears.) - There are way too many existing Lares
installations that have these problems!
57Demonstrations of Lares
58Exponential Decay
- Sabines breakthrough
- Extensively studied by Morse, Beranek, Eyring,
etc. - In rooms where the absorption is relatively
uniformly distributed the decay of sound follows
a straight line when plotted logarithmically. - When the decay is exponential we can precisely
predict the ratio between the direct sound and
the reflected sound in the 50-150ms time range. - For computing sonic distance the direct sound may
be augmented by reflections that arrive before
50ms. - At very short reverberation times the reflected
energy is concentrated into times less than 50ms
after the direct sound, and perceived distance is
low, regardless of the direct/reflected ratio. - Moderate reverberation times (1.2 1.6 seconds)
concentrate the energy between 50 and 150ms.
Halls with these reverberation times can easily
sound muddy. (mulmig or glauque)
59Acoustic research through synthesis
- We do not need to use reflections to generate the
perception of acoustics! - It is the total reflected energy in different
time bands that matters, along with the spatial
and frequency distribution of that energy. - We can synthesize reverberation by convolving an
input signal with an impulse response sculpted
from noise. - This technique allows to investigate the effects
of different energy profiles. - I decided to convolve four identically shaped
noise bursts, each 46ms long, with a segment of
the Rakes Progress. - These segments can be then strung together with
different delays and amplitudes to form an
arbitrary reverberation. - For example, lets synthesize an exponential
decay of 1.4 seconds RT, with a variable
direct/reverberant ratio
60Synthetic impulse response
linear amplitude scale
log amplitude scale Synthetic impulse
response from noise 1.4s exponential decay This
is the sound of a one sample click at 22050
samples/sec. This is NOT music or speech.
61Window averaging, direct/reverb 0dB
25ms averaging window
100ms averaging
window We can average the impulse response over a
selected time period. Mathematically this is the
same as the average response of the system to an
input signal (phone or note) with a duration of
the averaging period. The first window
represents the response of the room to a 25ms
sound, and the second to a 100ms sound. Note the
EDT we perceive is HIGHLY dependent on the length
of the note!
62Schroeder Integration, direct/reverb 0dB
Schroeder Integration reverse integration
represents the response of the room to a note of
infinite duration. Jordans method of determining
EDT takes some account of the strength of the
direct sound. Schroeders method for EDT
completely ignores the strength of the direct
sound. Neither method is likely to predict the
response of the room to speech or normal music.
63Window Averaging, direct/reverb -3dB
25ms Averaging Window 100ms Averaging
Window For a 25ms sound the effective
reverberation time is 0.9 seconds, so at least
these sounds are heard with high articulation.
100ms sounds on the other hand, are smoothed to
nearly the same slope as the late reverberation
time
64Schroeder Integration, direct/reverb -3dB
Very long notes still show some dual-slope decay.
Jordans method for EDT is sensitive to this
difference, Schroeders is not.
65Examples
- See surround encoded DTS exponential decay
66Non-exponential decay direct/reverb -3dB
It is interesting to ask what happens when there
is a high burst of very early reflections,
followed by a relatively level energy curve out
to beyond 160ms. This type of decay minimizes
sonic distance, while maintaining reverberance
and envelopment
67Non-exponential decay direct/reverb -3dB
amplitudes of the different time periods in
dB all dB values correspond to the energy
content of the mix d1 -1.7 direct sound l1
-1.7 20ms-60ms l2 -8.5 60ms-100ms l3
-8.5 100ms-140ms l4 -8.5 140ms-180ms l5
-8.5 180ms-220ms l6 -10.2 220ms-260ms l7
-11.9 260ms-300ms l8 -13.6 300ms-340ms
This is the MATLAB code that sets up the
non-linear reverberation. Note that for this
example, the early reflections have equal energy
to the direct sound. Sonically, it is much better
if the early energy is 4dB to 6dB relative to
direct.
68Non-exponential decay direct/reverb -3dB
25 ms averaging window 100ms averaging
window With this non-linear decay both 25ms
sounds and 100ms sounds are perceived with high
articulation. Longer notes and sounds also have
high reverberance. Once again, it would be
sonically more pleasant if the early reflections
were reduced.
69Examples
- See surround encoded DTS non-linear decay
70Frequency Dependence
- We have so far been studying broadband
reverberation. - However human perception is highly frequency
dependent. - As a consequence, our perceptions of
intelligibility, articulation, loudness, and
sonic distance are primarily influenced by
frequencies above 700Hz. - However the perception of reverberance, warmth,
and envelopment primarily arise from frequencies
below 500Hz. - It is possible to have both high clarity and high
envelopment at the same time by carefully
controlling the frequency dependence of the
reflected energy.
71The frequency transmission of the pinnae and
middle ear
From B. C. J. Moore, B. R. Glasberg and T.
Baer, A model for the prediction of thresholds,
loudness and partial loudness, J. Audio Eng.
Soc., vol. 45, pp. 224-240 (1997).
The intensity of nerve firings is concentrated in
the frequency range of human speech signals,
about 700Hz to 4kHz. With a broad-band source,
the ITD and IID at these frequencies will
dominate the apparent direction.
72Boston Symphony Hall, occupied, stage to front of
balcony, 1000Hz
73Boston Symphony Hall, occupied, stage to front of
balcony, 250Hz
74Adelade - Festival Center Theater
75Conclusions
- There is an ideal acoustic profile for opera
performance. - This profile may or may not be achievable through
conventional acoustics. - Our goal is not ideal acoustics, it is ideal
SOUND. - When restricting the design to conventional
acoustics, the optimal sound as determined by a
rapid A/B test is less reverberant than most
conductors think they want in the absence of an
A/B test, at least above 700Hz. - An optimal design will maximize the reverb radius
above 700Hz, aiming for a strongly dual-slope
decay as measured by the decay time to 6dB of a
50ms to 100ms sound. - This goal is best achieved by directing the
direct sound (and first reflections) from the
soloists into the audience. - The optimal design will maximize the
reverberation time and the reverberant level
below 500Hz. - Given the choice between high clarity and a
compromise that reduces clarity somewhat in favor
of more reverberance for the orchestra, CHOOSE
CLARITY!