@inproceedings{FiedlerAckermannBrinkmannetal.2017, author = {Fiedler, Felicitas and Ackermann, David and Brinkmann, Fabian and Schneider, Martin and Weinzierl, Stefan}, title = {Entwicklung und Evaluation eines Mikrofonarrays f{\"u}r die Aufnahme von r{\"a}umlichen Schallfeldern nach dem Motion-Tracked Binaural (MTB) Verfahren}, series = {Fortschritte der Akustik - DAGA 2017: 43. Jahrestagung f{\"u}r Akustik, 06. - 09. M{\"a}rz 2017 in Kiel}, booktitle = {Fortschritte der Akustik - DAGA 2017: 43. Jahrestagung f{\"u}r Akustik, 06. - 09. M{\"a}rz 2017 in Kiel}, editor = {Schmidt, Gerhard and Nolte, Bodo and Heute, Ulrich}, publisher = {Deutsche Gesellschaft f{\"u}r Akustik e.V.}, address = {Berlin}, isbn = {978-3-939296-12-6}, pages = {1115 -- 1117}, year = {2017}, language = {de} } @inproceedings{AspoeckBrinkmannAckermannetal.2018, author = {Asp{\"o}ck, Lukas and Brinkmann, Fabian and Ackermann, David and Weinzierl, Stefan and Vorl{\"a}nder, Michael}, title = {Eine Datenbank zur Validierung von akustischen Simulationen}, series = {Fortschritte der Akustik - DAGA 2018: 44. Jahrestagung f{\"u}r Akustik, 19.-22. M{\"a}rz 2018 in M{\"u}nchen}, booktitle = {Fortschritte der Akustik - DAGA 2018: 44. Jahrestagung f{\"u}r Akustik, 19.-22. M{\"a}rz 2018 in M{\"u}nchen}, editor = {Seeber, Bernhard}, publisher = {Deutsche Gesellschaft f{\"u}r Akustik e.V.}, address = {Berlin}, isbn = {978-3-939296-13-3}, pages = {1337 -- 1337}, year = {2018}, language = {de} } @inproceedings{BoehmAckermannWeinzierl2018, author = {B{\"o}hm, Christoph and Ackermann, David and Weinzierl, Stefan}, title = {Eine mehrkanalige und nachhallfreie Aufnahme von Beethovens 8. Sinfonie}, series = {Fortschritte der Akustik - DAGA 2018 - 44. Jahrestagung f{\"u}r Akustik 19.-22. M{\"a}rz 2018, M{\"u}nchen}, booktitle = {Fortschritte der Akustik - DAGA 2018 - 44. Jahrestagung f{\"u}r Akustik 19.-22. M{\"a}rz 2018, M{\"u}nchen}, editor = {Seeber, Bernhard}, publisher = {Deutsche Gesellschaft f{\"u}r Akustik e.V.}, address = {Berlin}, isbn = {978-3-939296-14-0}, doi = {10.14279/depositonce-8678}, pages = {112 -- 115}, year = {2018}, language = {de} } @inproceedings{GreifAckermannKokabietal.2020, author = {Greif, Jakob and Ackermann, David and Kokabi, Omid and Weinzierl, Stefan}, title = {Kann man die Form eines Konzertsaales h{\"o}ren? Ein audiovisueller Test in simulierten 3D-Umgebungen [Abstract]}, series = {Fortschritte der Akustik - DAGA 2020 - 46. Jahrestagung f{\"u}r Akustik, 16.-19. M{\"a}rz 2020, Hannover}, booktitle = {Fortschritte der Akustik - DAGA 2020 - 46. Jahrestagung f{\"u}r Akustik, 16.-19. M{\"a}rz 2020, Hannover}, publisher = {Deutsche Gesellschaft f{\"u}r Akustik e.V.}, isbn = {978-3-939296-17-1}, pages = {1153 -- 1156}, year = {2020}, language = {en} } @article{BrinkmannAspoeckAckermannetal.2019, author = {Brinkmann, Fabian and Asp{\"o}ck, Lukas and Ackermann, David and Lepa, Steffen and Vorl{\"a}nder, Michael and Weinzierl, Stefan}, title = {A Round Robin on Room Acoustical Simulation and Auralization}, series = {Journal of the Acoustical Society of America}, volume = {145}, journal = {Journal of the Acoustical Society of America}, number = {4}, publisher = {Acoustical Society of America}, issn = {0001-4966}, doi = {10.1121/1.5096178}, url = {http://nbn-resolving.de/urn:nbn:de:hbz:due62-opus-59034}, pages = {2746 -- 2760}, year = {2019}, abstract = {A round robin was conducted to evaluate the state of the art of room acoustic modeling software both in the physical and perceptual realms. The test was based on six acoustic scenes highlighting specific acoustic phenomena and for three complex, "real-world" spatial environments. The results demonstrate that most present simulation algorithms generate obvious model errors once the assumptions of geometrical acoustics are no longer met. As a consequence, they are neither able to provide a reliable pattern of early reflections nor do they provide a reliable prediction of room acoustic parameters outside a medium frequency range. In the perceptual domain, the algorithms under test could generate mostly plausible but not authentic auralizations, i.e., the difference between simulated and measured impulse responses of the same scene was always clearly audible. Most relevant for this perceptual difference are deviations in tone color and source position between measurement and simulation, which to a large extent can be traced back to the simplified use of random incidence absorption and scattering coefficients and shortcomings in the simulation of early reflections due to the missing or insufficient modeling of diffraction.}, language = {en} } @article{AckermannBrinkmannZotteretal.2021, author = {Ackermann, David and Brinkmann, Fabian and Zotter, Franz and Kob, Malte and Weinzierl, Stefan}, title = {Comparative Evaluation of Interpolation Methods for the Directivity of Musical Instruments}, series = {EURASIP Journal on Audio, Speech, and Music Processing}, volume = {2021}, journal = {EURASIP Journal on Audio, Speech, and Music Processing}, number = {1}, publisher = {Springer Nature}, issn = {1687-4722}, doi = {10.1186/s13636-021-00223-6}, url = {http://nbn-resolving.de/urn:nbn:de:hbz:due62-opus-58992}, year = {2021}, abstract = {Measurements of the directivity of acoustic sound sources must be interpolated in almost all cases, either for spatial upsampling to higher resolution representations of the data, for spatial resampling to another sampling grid, or for use in simulations of sound propagation. The performance of different interpolation techniques applied to sparsely sampled directivity measurements depends on the sampling grid used but also on the radiation pattern of the sources themselves. Therefore, we evaluated three established approaches for interpolation from a low-resolution sampling grid using high-resolution measurements of a representative sample of musical instruments as a reference. The smallest global error on average occurs for thin plate pseudo-spline interpolation. For interpolation based on spherical harmonics (SH) decomposition, the SH order and the spatial sampling scheme applied have a strong and difficult to predict influence on the quality of the interpolation. The piece-wise linear, spherical triangular interpolation provides almost as good results as the first-order spline approach, albeit with on average 20 times higher computational effort. Therefore, for spatial interpolation of sparsely sampled directivity measurements of musical instruments, the thin plate pseudo-spline method applied to absolute-valued data is recommended and, if necessary, a subsequent modeling of the phase}, language = {en} } @inproceedings{FeistelAckermannWeinzierl2023, author = {Feistel, Stefan and Ackermann, David and Weinzierl, Stefan}, title = {Using High-Resolution Directivity Data of Musical Instruments for Acoustic Simulation and Auralization}, series = {Proceedings of the 155th Audio Engineering Society Conventio, New York, 25-27th of October 2023.}, booktitle = {Proceedings of the 155th Audio Engineering Society Conventio, New York, 25-27th of October 2023.}, publisher = {Audio Engineering Society}, year = {2023}, language = {en} } @inproceedings{FiebigAckermannBoehmetal.2022, author = {Fiebig, Andr{\´e} and Ackermann, David and B{\"o}hm, Sandra and Chudalla, Michael and Karakantas, Athansios and Oehme, Astrid and Pourpart, Sophie and Schuck, Moritz and Strigari, Fabio and Weinzierl, Stefan}, title = {Attribute zur gesamtheitlichen Charakterisierung der Wahrnehmung von Straßenverkehrsger{\"a}uschen}, series = {Fortschritte der Akustik - DAGA 2022 - 48. Jahrestagung f{\"u}r Akustik 21.-24. M{\"a}rz 2022, Stuttgart und Online}, booktitle = {Fortschritte der Akustik - DAGA 2022 - 48. Jahrestagung f{\"u}r Akustik 21.-24. M{\"a}rz 2022, Stuttgart und Online}, publisher = {Deutsche Gesellschaft f{\"u}r Akustik e.V.}, isbn = {978-3-939296-20-1}, doi = {10.14279/depositonce-15552}, pages = {500 -- 503}, year = {2022}, language = {de} } @inproceedings{BoegeleinBrinkmannAckermannetal.2018, author = {B{\"o}gelein, Silke and Brinkmann, Fabian and Ackermann, David and Weinzierl, Stefan}, title = {Localization Cues of a Spherical Head Model [Abstract]}, series = {Fortschritte der Akustik - DAGA 2018 - 44. Jahrestagung f{\"u}r Akustik 19.-22. M{\"a}rz 2018, M{\"u}nchen}, booktitle = {Fortschritte der Akustik - DAGA 2018 - 44. Jahrestagung f{\"u}r Akustik 19.-22. M{\"a}rz 2018, M{\"u}nchen}, publisher = {Deutsche Gesellschaft f{\"u}r Akustik e.V.}, isbn = {978-3-939296-13-3}, pages = {347 -- 350}, year = {2018}, language = {en} } @article{AckermannBoehmBrinkmannetal.2019, author = {Ackermann, David and B{\"o}hm, Christoph and Brinkmann, Fabian and Weinzierl, Stefan}, title = {The Acoustical Effect of Musicians' Movements During Musical Performances}, series = {Acta Acustica united with Acustica}, volume = {105}, journal = {Acta Acustica united with Acustica}, number = {2}, publisher = {Hirzel}, issn = {1861-9959}, doi = {10.3813/AAA.919319}, url = {http://nbn-resolving.de/urn:nbn:de:hbz:due62-opus-59024}, pages = {356 -- 367}, year = {2019}, abstract = {Acoustic musical instruments act as dynamic sound sources communicating the expressive intentions of a performer to the audience in a dedicated spatial environment. From an acoustical point of view, the directivity of musical instruments is relevant both for the loudness and timbre of an instrument at a certain position in the audience, as well as for the spatial characteristics of the generated sound field. Musical instruments, however, are dynamic sound sources always moved by musicians as an element of their performance on stage. This work aims at assessing the acoustical effect and the perceptual relevance of these movements. For this purpose, we have recorded solo musical performances with all standard orchestral instruments with an optical motion tracking system, as well as the corresponding audio signals. The effect of the movements was evaluated by analysing the spectral fluctuation and the time-dependence of room acoustical parameters in a virtual acoustic environment in anechoic and reverberant conditions. In a subsequent listening test, an auralization of the static and dynamic musical performance was presented to listeners by binaural synthesis, showing that the signal-related fluctuations are clearly audible both in anechoic and reverberant situations. We discuss different approaches how to consider these effects for the simulation of natural acoustic sources in virtual acoustic reality.}, language = {en} }