Why is it so hard to design a concert hall with excellent acoustics
暂无分享,去创建一个
[1] J. Pätynen,et al. Perception of music dynamics in concert hall acoustics. , 2016, The Journal of the Acoustical Society of America.
[2] Tapio Lokki,et al. Concert hall acoustics: Repertoire, listening position, and individual taste of the listeners influence the qualitative attributes and preferences. , 2016, The Journal of the Acoustical Society of America.
[3] Tapio Lokki,et al. Concert halls with strong and lateral sound increase the emotional impact of orchestra music. , 2016, The Journal of the Acoustical Society of America.
[4] Tapio Lokki,et al. Spatial Analysis and Synthesis of Car Audio System and Car Cabin Acoustics with a Compact Microphone Array , 2015 .
[5] T. Lokki,et al. Investigation of auditory distance perception and preferences in concert halls by using virtual acoustics. , 2015, The Journal of the Acoustical Society of America.
[6] Tapio Lokki,et al. Analysis of the seat-dip effect in twelve European concert halls , 2015 .
[7] Tapio Lokki,et al. The Acoustics of Vineyard Halls, is it so Great After all? , 2015 .
[8] Tapio Lokki,et al. Preferences of Critical Listening Environments Among Sound Engineers , 2014 .
[9] Tapio Lokki,et al. Concert halls with strong lateral reflections enhance musical dynamics , 2014, Proceedings of the National Academy of Sciences.
[10] Tapio Lokki,et al. Relationships between preference ratings, sensory profiles, and acoustical measurements in concert halls. , 2014, The Journal of the Acoustical Society of America.
[11] Tapio Lokki,et al. Tasting music like wine: Sensory evaluation of concert halls , 2014 .
[12] Eckhard Kahle,et al. Room Acoustical Quality of Concert Halls: Perceptual Factors and Acoustic Criteria — Return from Experience , 2013 .
[13] Tapio Lokki,et al. Spatio-temporal energy measurements in renowned concert halls with a loudspeaker orchestra , 2013 .
[14] Tapio Lokki,et al. Spatial Decomposition Method for Room Impulse Responses , 2013 .
[15] Tapio Lokki,et al. Analysis of concert hall acoustics via visualizations of time-frequency and spatiotemporal responses. , 2013, The Journal of the Acoustical Society of America.
[16] Tapio Lokki,et al. Disentangling preference ratings of concert hall acoustics using subjective sensory profiles. , 2012, The Journal of the Acoustical Society of America.
[17] Eckhard Kahle,et al. Architectural shape and early acoustic efficiency in concert halls (L). , 2012, The Journal of the Acoustical Society of America.
[18] Tapio Lokki,et al. Simulation of the violin section sound based on the analysis of orchestra performance , 2011, 2011 IEEE Workshop on Applications of Signal Processing to Audio and Acoustics (WASPAA).
[19] Richard King,et al. The Practical Effects of Lateral Energy in Critical Listening Environments , 2011 .
[20] Tapio Lokki,et al. Lateral reflections are favorable in concert halls due to binaural loudness. , 2011, The Journal of the Acoustical Society of America.
[21] Tapio Lokki,et al. Concert hall acoustics assessment with individually elicited attributes. , 2011, The Journal of the Acoustical Society of America.
[22] Tapio Lokki,et al. Engaging concert hall acoustics is made up of temporal envelope preserving reflections. , 2011, The Journal of the Acoustical Society of America.
[23] Tapio Lokki,et al. Anechoic recording system for symphony orchestra , 2008 .
[24] Ville Pulkki,et al. Spatial Sound Reproduction with Directional Audio Coding , 2007 .
[25] Wolfgang Ellermeier,et al. Directional loudness in an anechoic sound field, head-related transfer functions, and binaural summation. , 2006, The Journal of the Acoustical Society of America.
[26] Juha Merimaa,et al. Spatial Impulse Response Rendering II: Reproduction of Diffuse Sound and Listening Tests , 2006 .
[27] Juha Merimaa,et al. Spatial Impulse Response Rendering I: Analysis and Synthesis , 2005 .
[28] M. Barron. Using the standard on objective measures for concert auditoria, ISO 3382, to give reliable results , 2005 .
[29] H S Colburn,et al. The precedence effect. , 1999, The Journal of the Acoustical Society of America.
[30] W. M. Rabinowitz,et al. Auditory localization of nearby sources. Head-related transfer functions. , 1999, The Journal of the Acoustical Society of America.
[31] John S. Bradley,et al. Subjective evaluation of new room acoustic measures , 1995 .
[32] Michael Friis Sørensen,et al. Head-Related Transfer Functions of Human Subjects , 1995 .
[33] John S. Bradley,et al. Contemporary Approaches to Evaluating Auditorium Acoustics , 1990 .
[34] J. Blauert. Spatial Hearing: The Psychophysics of Human Sound Localization , 1983 .
[35] A. Sotiropoulou. Concert hall acoustic criteria; subjective significance , 1983 .
[36] David A. Luce,et al. Dynamic Spectrum Changes of Orchestral Instruments , 1975 .
[37] Manfred R. Schroeder,et al. Comparative study of European concert halls: correlation of subjective preference with geometric and acoustic parameters , 1974 .
[38] J. West,et al. Sound Transmission over Theatre Seats , 1964 .
[39] T. J. Schultz,et al. Propagation of Sound across Audience Seating , 1964 .
[40] T. Lokki. Concert halls -- conveyors of musical expressions , 2016 .
[41] Antti Kuusinen,et al. Multidimensional perception of concert hall acoustics - Studies with the loudspeaker orchestra , 2016 .
[42] Tapio Lokki,et al. The acoustics of a concert hall -- as a linear problem , 2015 .
[43] J. Pätynen,et al. The secret of the Musikverein and other shoebox concert halls , 2015 .
[44] J. Pätynen. A virtual symphony orchestra for studies on concert hall acoustics , 2011 .
[45] Tapio Lokki,et al. Directivities of symphony orchestra instruments , 2010 .
[46] Jürgen Meyer,et al. ACOUSTICS AND THE PERFORMANCE OF MUSIC , 2024, Spring Conference 1981.
[47] Dana S. Hougland,et al. Concert and Opera Halls: How They Sound , 1996 .
[48] M. Barron,et al. Subjective study of British symphony concert halls , 1988 .
[49] B. Moore. An Introduction to the Psychology of Hearing , 1977 .
[50] A. H. Marshall,et al. A note on the importance of room cross-section in concert halls , 1967 .