A new method for determining optimum dimension ratios for small rectangular rooms has been presented. In a theoretical model, an exact description of the room impulse response was used. Based on the impulse response, a frequency response of a room was calculated to find changes in the sound pressure level over the frequency range 20–200 Hz. These changes depend on the source and receiver positions, thus, a new metric equivalent to an average frequency response was introduced to quantify the overall sound pressure variation within the room for a selected source position. A numerical procedure was employed to seek a minimum value of the deviation of the sound pressure level response from a smooth fitted response determined by the quadratic polynomial regression. The most smooth frequency responses were obtained when the source was located at one of the eight corners of a room. Thus, to find the best possible dimension ratios, in the numerical procedure the optimal source position was assumed. Calculation results have shown that optimum dimension ratios depend on the room volume and the sound damping inside a room, and for small and medium volumes these ratios are roughly 1 : 1.48 : 2.12, 1 : 1.4 : 1.89 and 1 : 1.2 : 1.45. When the room volume was suitably large, the ratio 1 : 1.2 : 1.44 was found to be the best one.
In this paper, the computer modelling application based on the modal expansion method is developed to study the influence of a sound source location on a steady-state response of coupled rooms. In the research, an eigenvalue problem is solved numerically for a room system consisting of two rectangular spaces connected to one another. A numerical procedure enables the computation of shape and frequency of eigenmodes, and allows one to predict the potential and kinetic energy densities in a steady-state. In the first stage, a frequency room response for several source positions is investigated, demonstrating large deformations of this response for strong and weak modal excitations. Next, a particular attention is given to studying how the changes in a source position influence the room response when a source frequency is tuned to a resonant frequency of a strongly localized mode.
A theoretical method has been presented to describe sound decay in building enclosures and to simulate the room impulse response (RIR) employed for prediction of the indoor reverberation characteristics. The method was based on a solution of wave equation having the form of a series whose time-decaying components represent responses of acoustic modes to an impulse sound source. For small sound absorption on room walls this solution was found by means of the method of variation of parameters. A decay function was computed via the time-reverse integration of the squared RIR. Computer simulations carried out for a rectangular enclosure have proved that the RIR function reproduces the structure of a sound field in the initial stage of sound decay suffciently well. They have also shown that band-limitedness of the RIR has evident influence on the shape of the decay function and predicted decay times.
Reverberant responses are widely used to characterize acoustic properties of rooms, such as the early decay time (EDT) and the reverberation times T20 and T30. However, in real conditions a sound decay is often deformed by background noise, thus a precise evaluation of decay times from noisy room responses is the main problem. In this paper this issue is examined by means of numerical method where the decay times are estimated from the decay function that has been determined by nonlinear polynomial regression from a pressure envelope obtained via the discrete Hilbert transform. In numerical experiment the room responses were obtained from simulations of a sound decay for two-room coupled system. Calculation results have shown that background noise slightly affects the evaluation of reverberation times T20 and T30 as long as the signal-to-noise ratio (SNR) is not smaller than about 25 and 35 dB, respectively. However, when the SNR is close to about 20 and 30 dB, high overestimation of these times may occur as a result of bending up of the decay curve during the late decay.
Virtual or active acoustics refers to the generation of a simulated room response by means of electroacoustics and digital signal processing. An artificial room response may include sound reflections and reverberation as well as other acoustic features mimicking the actual room. They will cause the listener to have an impression of being immersed in virtual acoustics of another simulated room that coexists with the actual physical room. Using low-latency broadband multi-channel convolution and carefully measured room data, optimized transducers for rendering of sound fields, and an intuitive touch control user interface, it is possible to achieve a very high perceived quality of active acoustics, with a straightforward adjustability. The electroacoustically coupled room resulting from such optimization does not merely produce an equivalent of a back-door reverberation chamber, but rather a fully functional complete room superimposed on the physical room, yet with highly selectable and adjustable acoustic response. The utility of such active system for music recording and performance is discussed and supported with examples.