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Leo Beranek had heard of the St.
Paul Cathedral installation, and worked with DeNambro to design and install a test system based on the St. Paul design. In the autumn of , Dr. The author was in the class.
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The experiment was a success, but for whatever reason, the Diocese decided not to proceed with a permanent installation at the time. The church had both a new Aeolian Skinner organ and a new sound system. The latter used ten Altec Western-Electric-designed A loudspeakers five along each side wall, causing more reverberation than clarity. Upon my recommendation, these were replaced by one Altec multicellular horn, aimed to avoid sound-energy toward sound-reflecting wall and ceiling surfaces and to evenly cover the congregation, and so increase the ratio of early-to-reverberant sound energy.
Figure 2.
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The horn-driver combination has been replaced with a newer system with similar direction sound propagation control. Robert Newman and W. Intelligibility was good with a two-second reverberation time and with neither any sound-absorbing treatment nor a sound system. However, two congregants talked the church into a sound system with under-pew loudspeakers and then into sound-absorbing panels to mitigate the added reverberant energy produced by that sound system.
All this was removed from use with the installation of a new Visser-Roland pipe organ several years ago, replacing the original landmark Allen electronic. Figure 4. Low-sound-level pew-back sound systems work well in reverberant spaces because only a small portion of the loudspeaker radiated sound undergoes multiple reflections to excite the room reverberation. Under-pew loudspeakers do not work well in reverberant spaces, because a high proportion of sound energy undergoes multiple reflections under the pews and is randomly radiated to ceiling and wall surfaces for further multiple reflections.
At BBN, the concept allowed designing for reverberant concert halls and worship spaces with the speech intelligibility assured by well-designed sound systems. One application of this approach was the multicellular horn sound system installed in Clowes Hall, Butler University, Indianapolis. Bill Hanley was responsible for both the design and installation of the initial sound system.
See Figure 5. Figure 5. New systems may have replaced the originals, but did not required changes in room acoustics. At Clowes, all types of performances are presented, including orchestral and chamber concerts, theatre, opera, Broadway-type shows, and popular amplified music. Spaulding is used successfully for both concerts and lectures. The sound system has been upgraded with more modern equipment. Orchestral concerts are accommodated by a standard Wenger This means that a full symphony orchestra is accommodated with the front-row musicians on the pit-lift raised to stage level, forward of the proscenium; and the proscenium is wider than the Wenger enclosure.
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My concert hall project at the time was the Dartmouth College Hopkins Center Spaulding Auditorium, used as both a lecture hall and concert hall. Harrison and Abromovitz were architects, with Walter Colvin as job captain. Also shown in Figure 5. Paul Boner, became famous for his extensive use of narrow-band equalization, but he also used directional control of loudspeaker energy to provide intelligibility in reverberant spaces.
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Gade, W. Lehmann, and J. Rindel, among others. Bradley, G. Seibein, and J. Peutz continued to base intelligibility predictions on reverberation time, modified by consideration of the directivity of the sound source, using W. If the first reflection is louder at the listener than the direct sound, then it replaces the direct sound in calculations. Figure 7 indicates why this is the preferred frequency range to evaluate speech intelligibility.
Figure 6. The objections of those who deny fusion of early sound for intelligibility was first presented by C. Cable and R.
Emerson, using only electroacoustics testing. Refer to Figure 7. Also, in the real world, heads continuously move slightly for both talkers and listeners, and the usual random spread of reflections also eliminates destructive phase cancellation of the added benefit of early reflections. The weighting factor multiplies the signal-to-noise ratio in that 1. Excess beyond 30dB is discarded. Don and Carolyn Davis have written in support of Emerson and Cable, but their data can support both the Puetz-Klein and Clarity conecpts.
Also, their experiments were all with regard to loudspeaker propagation, not room design, and the Peutz-Klein concept both worked well in that application and substantially agreed with the Crown TEF readings. Agreement might have been reduced if architectural modifications were being evaluated instead of loudspeakers with different directional characteristics.
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South Africans J. Lochner and J.
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Berger show a sliding scale for reflections from 35 ms. Jacek Figwer follows this in his analogue system, but it requires time-consuming hand-analysis. The known cases where it must be modified to be applicable will be discussed, as well. Figure 8. The slope of the direct sound is probably more determined by the integrating process and the oscilloscope characteristics.
The photographs are reversed in color, enhanced in contrast, and scale division numbers added. The time required for sound to decay only ten deciBels instead of sixty deciBels, times six to make the numbers comparable with normal reverberation time, RT 10 , has considerable acceptance as an important metric in concert hall acoustics. This is abbreviated as EDT , and occasionally crops up in discussions of speech intelligibility. Contrary to Beranek, many find it less important than Clarity and even possibly superfluous if Clarity, C 80 for concert halls, C 50 for speech, is considered in design and is measured in models, computer simulation, and completed halls.
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Early sound Figure 8-b from a distributed and delayed building-column vertical line-source loudspeaker system replaces poor intelligibility with good intelligibility, but simultaneously increases the EDT instead of decreasing it! Heyser, based on the advancement of audio digital delay devices and computer technology as a powerful measuring technique to provide information on room acoustics, sound systems, sound-isolation, and vibration control and analysis.
Figure 9. Crown TEF display before a and after b theatre panel adjustments 2. One of L. The improvement demonstrated was provided by re-angling wall and ceiling sound reflecting surfaces. The usefulness of the other Figure 9 curves, other than the ELR curves, are described in the references.
The associated equations are also in the references. The panel re-angling produced a four deciBel improvement for speech in the ELR , or C 50 , which can also be considered a signal-to-noise ratio. The C 50 rating and L. Here, we are focusing on C Figure Expected intelligibility test scoring vs. C 50 tests. The author takes responsibility for the shaded addition, applicable for normal English conversation and normal hearing. The first system with both pew-back and delay provided by an acoustical delay tube was the National Presbyterian Church in Washington, DC, Harold Wagoner architect.
Thomas was the first to use a digitally delay in a pew-back system, and was also one of the two earliest systems employing digital delay anywhere. Listening tests informed fine-tuning of both systems, a process later replaced by TEF evaluations. Figure 11, St. St, Thomas Church was built in , designed similar to a French Gothic cathedral. Ralph Adams Cram was the overall design architect and Bertram Grosvenor Goodhue the interior details designer. With the church authorities educated as to the possibilities of clarity in reverberant spaces, some successful pew-back systems already in operation, and the earlier recommendation by the great organ builder, G.
Donald Harrison for a pew-back speech-reinforcement system, we obtained approval.