• Corpus ID: 6423374

Spaciousness and Envelopment in Musical Acoustics

@article{Griesinger1996SpaciousnessAE,
  title={Spaciousness and Envelopment in Musical Acoustics},
  author={David H. Griesinger},
  journal={Journal of The Audio Engineering Society},
  year={1996}
}
  • D. Griesinger
  • Published 1 November 1996
  • Physics
  • Journal of The Audio Engineering Society
Conventional wisdom holds that spaciousness and envelopment are caused by lateral sound energy in rooms, and that it is the early arriving lateral energy which is most responsible. However small rooms often have many early lateral reflections, but by common definition small rooms are not spacious. This paper (briefly) describes a series of experiments into the perception of spaciousness and envelopment. The perceptions are found to be related most commonly to the lateral (diffuse) energy in… 

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References

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Spaciousness is known to be a key subjective parameter in determining the acoustical quality of a concert hall. Spaciousness is described as the sense of being enveloped by the sound, or as an

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Spaciousness is said to include the sense that the sound in a concert hall is enveloping, that the apparent source width is increased, and the general feeling of being in a room or space. Strong

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It is a common belief among room acousticians that reverberation later than 80ms after the direct sound does not contribute to auditory spaciousness. However there is no definitive proof for this

Objective measures of listener envelopment

This paper reports the results of subjective studies to determine objective predictors of perceived listener envelopment in concert halls. Subjects, seated in an anechoic room, were exposed to

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This paper proposes a set of measures of musical acoustics derived from a study of binaural hearing and speech perception. The measures are tested on analyzing data from unoccupied and occupied

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The modern age of concert hall acoustics began with the development of the reverberation equation by Wallace C. Sabine in 1895. Between then and 1950, little was added to the literature that assured

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We describe a subjective preference evaluation of European concert halls and attempt to correlate the subjective data with objective (geometric and acoustic) parameters of the halls. For the

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It is vital to know the loudness of reverberation in rooms, but this is poorly predicted by current theory and measures. We present the results of a continuing series of experiments on the loudness

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