Electrical musical instrument providing sound field localization

1996 ◽  
Vol 99 (5) ◽  
pp. 2643
Author(s):  
Tadahiko Ikeya ◽  
Tokuji Hayakawa
Keyword(s):  
Sound Field ◽  
Musical Instrument ◽  
Field Localization

Coherence influences sound-field localization dominance in a precedence paradigm

2016 ◽  
Vol 140 (4) ◽  
pp. 3099-3099
Author(s):  
Julian Grosse ◽  
Steven van de Par ◽  
Constantine Trahiotis
Keyword(s):  
Sound Field ◽  
Localization Dominance ◽  
Field Localization

Stimulus coherence influences sound-field localization and fusion/segregation of leading and lagging sounds

2017 ◽  
Vol 141 (4) ◽  
pp. 2673-2680 ◽  
Author(s):  
Julian Grosse ◽  
Steven van de Par ◽  
Constantine Trahiotis
Keyword(s):  
Sound Field ◽  
Field Localization

Organ Augmented Reality

2010 ◽  
Vol 1 (2) ◽  
pp. 51-66 ◽  
Author(s):  
Christian Jacquemin ◽  
Rami Ajaj ◽  
Sylvain Le Beux ◽  
Christophe d’Alessandro ◽  
Markus Noisternig ◽  
...  
Keyword(s):  
Spectral Analysis ◽  
Augmented Reality ◽  
Real Time ◽  
Acoustic Analysis ◽  
Sound Field ◽  
Musical Instrument ◽  
New Approach ◽  
Sound Levels ◽  
Organ Pipes

This paper discusses the Organ Augmented Reality (ORA) project, which considers an audio and visual augmentation of an historical church organ to enhance the understanding and perception of the instrument through intuitive and familiar mappings and outputs. ORA has been presented to public audiences at two immersive concerts. The visual part of the installation was based on a spectral analysis of the music. The visuals were projections of LED-bar VU-meters on the organ pipes. The audio part was an immersive periphonic sound field, created from the live capture of the organ sounds, so that the listeners had the impression of being inside the augmented instrument. The graphical architecture of the installation is based on acoustic analysis, mapping from sound levels to synchronous graphics through visual calibration, real-time multi-layer graphical composition and animation. The ORA project is a new approach to musical instrument augmentation that combines enhanced instrument legibility and enhanced artistic content.

Organ Augmented Reality

2012 ◽  
pp. 131-147
Author(s):  
Christian Jacquemin ◽  
Rami Ajaj ◽  
Sylvain Le Beux ◽  
Christophe d’Alessandro ◽  
Markus Noisternig ◽  
...  
Keyword(s):  
Spectral Analysis ◽  
Augmented Reality ◽  
Real Time ◽  
Acoustic Analysis ◽  
Sound Field ◽  
Musical Instrument ◽  
New Approach ◽  
Sound Levels ◽  
Organ Pipes

This paper discusses the Organ Augmented Reality (ORA) project, which considers an audio and visual augmentation of an historical church organ to enhance the understanding and perception of the instrument through intuitive and familiar mappings and outputs. ORA has been presented to public audiences at two immersive concerts. The visual part of the installation was based on a spectral analysis of the music. The visuals were projections of LED-bar VU-meters on the organ pipes. The audio part was an immersive periphonic sound field, created from the live capture of the organ sounds, so that the listeners had the impression of being inside the augmented instrument. The graphical architecture of the installation is based on acoustic analysis, mapping from sound levels to synchronous graphics through visual calibration, real-time multi-layer graphical composition and animation. The ORA project is a new approach to musical instrument augmentation that combines enhanced instrument legibility and enhanced artistic content.

scholarly journals Validation and application of three-dimensional auralisation during concert hall renovation

2020 ◽  
Vol 27 (4) ◽  
pp. 311-331
Author(s):  
Lamberto Tronchin ◽  
Francesca Merli ◽  
Massimiliano Manfren ◽  
Benedetto Nastasi
Keyword(s):  
Cross Correlation ◽  
Three Dimensional ◽  
Sound Field ◽  
Musical Instrument ◽  
Impulse Responses ◽  
Acoustic Parameters ◽  
Field Representation ◽  
Sound Fields ◽  
Acoustic Quality ◽  
Fifth Order

During the renovation of auditoria and concert halls, the acoustic quality is normally evaluated from measurements of impulse responses. One possibility for evaluating the acoustic quality from the measurements (the simulations) consists of convolving anechoic music with the measured (or simulated) impulse responses. In this way, a psycho-acoustic test is achieved using a virtual sound field representation. The listening room ‘Arlecchino’ at the University of Bologna includes ambisonics (up to fifth order) and stereo-dipole playback for virtual reproduction of sound in rooms. In this article, the effectiveness of the listening room ‘Arlecchino’ is first analysed, comparing acoustic parameters obtained from binaural impulse responses measured in some opera houses (in Italy) and auditorium (in Japan) with those virtually measured after the virtual reconstruction obtained in the listening rooms. The similarity between real and virtual sound fields, has been evaluated by comparing different acoustic parameters calculated by real and virtual sound fields, in four halls in different configurations, by means of the stereo-dipole method. In the second part of the article, the listening room was used to analyse the variation in interaural cross-correlation measurements in rooms obtained considering different anechoic sound signals convolved with the binaural impulse responses, to quantify the variation of the interaural cross correlation with different motifs. For this purpose, two different musical instrument digital interface musical motifs, very different from each other for their music characteristics, have been considered. Moreover, for each musical motif, different sound characteristics (i.e. different musical instruments) were considered, to consider both the rhythmic and timbre aspect.

Decay of Temporary Threshold Shift in Noise

1973 ◽  
Vol 16 (2) ◽  
pp. 267-270 ◽  
Author(s):  
John H. Mills ◽  
Seija A. Talo ◽  
Gloria S. Gordon
Keyword(s):  
Sound Field ◽  
Threshold Shift ◽  
Temporary Threshold Shift ◽  
Octave Band ◽  
Band Noise ◽  
Lower Asymptote

Groups of monaural chinchillas trained in behavioral audiometry were exposed in a diffuse sound field to an octave-band noise centered at 4.0 k Hz. The growth of temporary threshold shift (TTS) at 5.7 k Hz from zero to an asymptote (TTS ∞ ) required about 24 hours, and the growth of TTS at 5.7 k Hz from an asymptote to a higher asymptote, about 12–24 hours. TTS ∞ can be described by the equation TTS ∞ = 1.6(SPL-A) where A = 47. These results are consistent with those previously reported in this journal by Carder and Miller and Mills and Talo. Whereas the decay of TTS ∞ to zero required about three days, the decay of TTS ∞ to a lower TTS ∞ required about three to seven days. The decay of TTS ∞ in noise, therefore, appears to require slightly more time than the decay of TTS ∞ in the quiet. However, for a given level of noise, the magnitude of TTS ∞ is the same regardless of whether the TTS asymptote is approached from zero, from a lower asymptote, or from a higher asymptote.

Modified Earpieces and CROS for High Frequency Hearing Losses

1968 ◽  
Vol 11 (1) ◽  
pp. 204-218 ◽  
Author(s):  
Elizabeth Dodds ◽  
Earl Harford
Keyword(s):  
Hearing Loss ◽  
Hearing Aids ◽  
High Frequency ◽  
Hearing Aid ◽  
Sound Field ◽  
Intensity Level ◽  
Test Results ◽  
High Frequency Hearing Loss ◽  
Increased Sensitivity ◽  
Difficult Cases

Persons with a high frequency hearing loss are difficult cases for whom to find suitable amplification. We have experienced some success with this problem in our Hearing Clinics using a specially designed earmold with a hearing aid. Thirty-five cases with high frequency hearing losses were selected from our clinical files for analysis of test results using standard, vented, and open earpieces. A statistical analysis of test results revealed that PB scores in sound field, using an average conversational intensity level (70 dB SPL), were enhanced when utilizing any one of the three earmolds. This result was due undoubtedly to increased sensitivity provided by the hearing aid. Only the open earmold used with a CROS hearing aid resulted in a significant improvement in discrimination when compared with the group’s unaided PB score under earphones or when comparing inter-earmold scores. These findings suggest that the inclusion of the open earmold with a CROS aid in the audiologist’s armamentarium should increase his flexibility in selecting hearing aids for persons with a high frequency hearing loss.

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