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首页> 外文会议>Journal of South China University of Technology(Natural Science Edition) >Effects of Reverberation Time and Sound Source Characteristics on Sound Localization in an Indoor Sound Field
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Effects of Reverberation Time and Sound Source Characteristics on Sound Localization in an Indoor Sound Field

机译：混响时间和声源特性对室内声场中声音定位的影响

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According to the reports by Morimoto ( 1989), when regarding the influences of the sound localization of spatial perception in a hall, the reverberation energy ( T60 =0.3, 0.9s) may be treated as the first reflection energy ( with the delay time of 80 and 160 ms). However, the selection of music is exclusively limited to using Wolfgang Amadeus Mozart's Symphony No. 41, Movement Ⅳ as a music source. In order to prove that the sensitivities to spatial impression of sound localization depend on the structural characteristics of music, other three sound sources including Motif A ( Royal Pavane by Gibbon, τe = 127ms), Motif B ( Sinfonietta,Opus 48; Ⅳ movement; Allegro con brio by Arnold, τe =35 ms) and Motif S ( Speech, female, τe =23 ms) were adopted. According to the sound field design theory described by Ando, the determining factor of an ideal reverberation time length lies in the effective delay of autocorrelation function (τe) of sound sources. The reverberation time of the experiments was set as: short ( 0.3s),medium (0.9s) and long (2.0s), respectively. The judgments of the apparent sound localization were responded from 12 participants in the way of scaling using a normal distribution between two horizontal stimuli angles. The results show that Motif A obtains the highest accuracy level while the Motif S hits the lowest (p ＜0.01 ). The primary reason is the difference inτe proposed by Ando (1983), namely, the significant difference in sensation of reverberate image between motifs has an influence on human's auditory spatial perception of sound source. Furthermore, with respect to the reverberation time, no difference in spatial perception influence was obtained here.
机译：根据Morimoto（1989）的报告，当考虑大厅中空间感知的声音局部化的影响时，混响能量（T60 = 0.3，0.9s）可以作为第一反射能量（延迟时间为80和160毫秒）。但是，音乐的选择完全限于使用沃尔夫冈·阿玛迪斯·莫扎特的《第41号交响曲Ⅳ》作为音乐来源。为了证明对声音定位的空间印象的敏感性取决于音乐的结构特征，其他三个声源包括Motif A（长臂猿Royal Pavane，τe= 127ms），Motif B（Sinfonietta，Opus 48；Ⅳ运动）。采用了Arnold的Allegro con brio，τe= 35 ms）和Motif S（语音，母，τe= 23 ms）。根据安藤描述的声场设计理论，理想混响时间长度的决定因素在于声源自相关函数（τe）的有效延迟。实验的混响时间分别设为：短（0.3s），中（0.9s）和长（2.0s）。视听声音定位的判断是通过使用两个水平刺激角度之间的正态分布按比例缩放的方式从12位参与者中获得的。结果表明，Motif A的准确性最高，而Motif S的准确性最低（p ＜0.01）。主要原因是Ando（1983）提出的差异，即图案之间的混响图像感觉的显着差异会影响人类对声源的听觉空间感知。此外，关于混响时间，这里没有获得空间感知影响的差异。

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