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Figure | - Public square without arcades. Figure 2 - Public square with arcades

Figure 2 | - Public square without arcades. Figure 2 - Public square with arcades

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Table 1: Values of the index AA and corresponding variations of T30. STP
Table 1: Values of the index AA and corresponding variations of T30. STP
Figure 3 — Grid plot of STI — without arcades Just considering the open area, when adding arcades a no iceable decrease in STI is observed (compare the open area in Figure 3 with the same area in Figure 4). Es pecially in the small square STI is affected by late reflections coming from the arcades. Also, one could no no wi ice that there is a part, around the source, which is affected by the presence of arcades: this area is hin the reverberation distance, and this behaviour is strongly correlated with the distribution of EDT. Even worse values of STI can be noticed under he arcades.
Figure 3 — Grid plot of STI — without arcades Just considering the open area, when adding arcades a no iceable decrease in STI is observed (compare the open area in Figure 3 with the same area in Figure 4). Es pecially in the small square STI is affected by late reflections coming from the arcades. Also, one could no no wi ice that there is a part, around the source, which is affected by the presence of arcades: this area is hin the reverberation distance, and this behaviour is strongly correlated with the distribution of EDT. Even worse values of STI can be noticed under he arcades.
The first author once had the opportunity to listen to a concert in a small public square (actually the internal ‘patio’ of an old monastery) with arcades surrounding he main central area. The sound source was represented by a “viola da gamba”, positioned in the main open area, played without amplification (quite ow sound power). It was interesting to notice that a lot of listeners just left their positions in the centre of the main area (few meters from the musician) and went to isten to the music under the arcades, at further distance. In those new positions the music simply sounded better, having higher values of C80, shorter delay times, and some frequencies were “amplified” and “coloured” by the reflections from the floor and the ceiling. Figure 5 - C80. Grid response without audience in both the open square and the arcades’ area.
The first author once had the opportunity to listen to a concert in a small public square (actually the internal ‘patio’ of an old monastery) with arcades surrounding he main central area. The sound source was represented by a “viola da gamba”, positioned in the main open area, played without amplification (quite ow sound power). It was interesting to notice that a lot of listeners just left their positions in the centre of the main area (few meters from the musician) and went to isten to the music under the arcades, at further distance. In those new positions the music simply sounded better, having higher values of C80, shorter delay times, and some frequencies were “amplified” and “coloured” by the reflections from the floor and the ceiling. Figure 5 - C80. Grid response without audience in both the open square and the arcades’ area.
Figure 4 - Grid plot of STI — with arcades SPL (G) and C80
Figure 4 - Grid plot of STI — with arcades SPL (G) and C80
STI has very low values in almost all receiver positions, especially in the arcades’ area far from the sound source. If a qualitative comparison is made between grid response from EDT (Figure 7) and STI (Figure 9) it’s demonstrated once more that STI is more related to EDT than to T30. Figure 7 — EDT. Source in the arcade
STI has very low values in almost all receiver positions, especially in the arcades’ area far from the sound source. If a qualitative comparison is made between grid response from EDT (Figure 7) and STI (Figure 9) it’s demonstrated once more that STI is more related to EDT than to T30. Figure 7 — EDT. Source in the arcade
Figure 8 — T30. Source in the arcade
Figure 8 — T30. Source in the arcade
Figure 10 also shows that high G values are found all along the arcade in which the source is placed, while the sound encounters some “difficulty” in getting out of the arcade. In fact in this case (source under the arcade) the ratio Eopen square/Earcade = kK; which is always quite low. Figure 10 - SPL (=G) for the medium square. Source in the arcades
Figure 10 also shows that high G values are found all along the arcade in which the source is placed, while the sound encounters some “difficulty” in getting out of the arcade. In fact in this case (source under the arcade) the ratio Eopen square/Earcade = kK; which is always quite low. Figure 10 - SPL (=G) for the medium square. Source in the arcades
Figure 9 - STI. Source in the arcade
Figure 9 - STI. Source in the arcade
Figure 11 - SPL (=G) for the medium square. Source in the square area Another way to explain this fact is by means of Statistical Energy Analysis (SEA); If E; is the energy density of the “room” I, V; is the volume and M, is the modal density, then:
Figure 11 - SPL (=G) for the medium square. Source in the square area Another way to explain this fact is by means of Statistical Energy Analysis (SEA); If E; is the energy density of the “room” I, V; is the volume and M, is the modal density, then:
Plot of C80 (Figure 12) shows that under the arcades where the source is positioned, clarity has high values, and within the interval usually found in concert halls (from -5 to +3 dB) [9] In the other three sides of the arcades C80 is very low meaning that there are either low early reflections or strong late reflections, or both of them. The same can be argued for a large part of the open area. 4 Considerations about the decay curves
Plot of C80 (Figure 12) shows that under the arcades where the source is positioned, clarity has high values, and within the interval usually found in concert halls (from -5 to +3 dB) [9] In the other three sides of the arcades C80 is very low meaning that there are either low early reflections or strong late reflections, or both of them. The same can be argued for a large part of the open area. 4 Considerations about the decay curves
Figure 14 - Impulse response at one hear, when both sound source and receiver are positioned in the open araq Figure 13 - Typical decay curve at one ear when both sound source and receiver are positioned in the open area
Figure 14 - Impulse response at one hear, when both sound source and receiver are positioned in the open araq Figure 13 - Typical decay curve at one ear when both sound source and receiver are positioned in the open area
decay, coming from the open square. Of course this is possible only if the level in the second slope is higher than the background noise or at least higher than the threshold of human hearing; in other words one has to play/talk loud to be able to hear the sound coming also from the coupled room.
decay, coming from the open square. Of course this is possible only if the level in the second slope is higher than the background noise or at least higher than the threshold of human hearing; in other words one has to play/talk loud to be able to hear the sound coming also from the coupled room.
Positioning the receiver in the other arcades (without changing the position of the source), a linear decay is heard. The slope of the decay in Figure 17 is the same as the slope in the second part of the decay in Figure 15, meaning that one hears mainly the reverberation of the open square; no early reflections are present. Figure 17: Decay curve for the case ‘source in one arcade and receiver in another arcade’.
Positioning the receiver in the other arcades (without changing the position of the source), a linear decay is heard. The slope of the decay in Figure 17 is the same as the slope in the second part of the decay in Figure 15, meaning that one hears mainly the reverberation of the open square; no early reflections are present. Figure 17: Decay curve for the case ‘source in one arcade and receiver in another arcade’.
Figure 16 - Reflectogram for the large square, when both sound source and receiver are positioned under the same arcade. Figure 16 - Reflectogram for the large square, when both sound source and receiver are positioned under the same arcade.
Figure 16 - Reflectogram for the large square, when both sound source and receiver are positioned under the same arcade. Figure 16 - Reflectogram for the large square, when both sound source and receiver are positioned under the same arcade.
Related topics:
Statistical Energy AnalysisReverberation Time
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