| [摘要] |
|
矩形廳堂提供了音能在席位上之良好分佈，反射在方向上也相當均質，然而諸多研究卻又 |
|
顯示了在矩形空間使用擴散邊界面的優點。本研究因此以小型的簡單矩形廳堂為對象，以 |
|
擴散材配置方式與位置為變因，探討整體聽覺印象與室內音響參數的關係。 |
|
實驗過程中先於1/10縮尺模型進行客觀的物理性量測並對數據進行分析，再以模擬音場進 |
| 行主觀評估。舞台環境以QRD及1/4圓弧面做二維擴散處理，觀眾席環境則以一維且較大比 |
|
例的1/4木圓柱做處理，此外於探討觀眾席處理前先針對觀眾席角隅部與背牆反射造成舞台 |
| 上回音現象先提出改善方法。 |
|
客觀參數的分析顯示無論材料的類型、配置位置、方向、一維與二維擴散行為對結果都有 |
|
重要的影響。觀眾席環境提供擴散對緊靠反射面能減少時間閾擴散的發生，觀眾席背牆角 |
|
隅部避免垂直角有助於減少舞台上的長路徑反射造成的回音問題，同時也能提供擴散效果 |
|
。以舞臺配置為主的主觀試驗顯示於除餘響與強度之外，時間閾擴散(TD)與晚期雙耳互相 |
| 關係數(IACCL)為重要的影響因子，此外，雖然側牆為斜板而天花為(二維)擴散的模式最受 |
| 到喜愛，但八種模式的差異不大，所有模式也都在可接受之零點以上。 |
|
本研究以模擬音場之主觀評估與客觀的縮尺模型實驗，來探討擴散材配置的問題，以及提 |
|
出降低時間閾擴散與長路徑反射現象的手法，期望實驗結果對於國內小型音樂廳的設計有 |
| 所幫助。 |
|
| [摘要] |
| An appropriate diffuse sound
field has to consider the shape and the volume of |
| the room, the distribution of
the surface material, and the diffuse |
| installation. To estimate the
audio ability or a hall, there are some related |
| coefficient such as EDT、
TI、C80、G80、 LFE 、IACCE ect. , all of which are |
| associated with the early sound
reflection. One of inter aural cross |
| correlation (IACC) can be
responded to sound field’s spreading direction. |
| Nevertheless, whether diffuse
sound field stands for a suitable place for |
| performance or not, how to
arrange diffuse material or to design a suitable |
| sound spreading direction, are
the things worthy to be discuss thoroughly. |
| However , to conclude the
acoustics design quality of a hall , is still |
| essentially estimated
subjectively by the audience and the musicians. There’s |
| a few study research that
mentions the impact of diffuse sound field on the |
| individual subjective estimation
as well as on the actual survey. Basically, |
| an ideal diffuse material does
not depend on it’s sound absorbent, but the |
| one that is able to make the sended-out-sound
spread to each reflex |
| direction. When diffuse type is
an intact diffuse behavior. Yet, the most |
| important thing in diffuse sound
field is its sound field’s achievement, not |
| its diffuse type. All of these
standard conclusion, without any proper |
| indication number will be
difficult to make an efficient comparison. |
| Base on those factors that are
described above, therefore this research is |
| focused on the estimated result
of the whole hearing impression, discussing |
| the relationship between this
hearing impression and the rectangular hall’s |
| interior audio dimension. After
understanding some of the diffuse behavior and |
| the sended out sound’s
subjective character, an objective in-scale experiment |
| model was used in advanced to
get numbers and analysis, and then “sound field |
| simulation” technic was applied
to conclude an objective estimation, as the |
| reference to decide the
how-to-deal-with this diffuse pattern. To control the |
| two dimension diffuse in stage’s
environment, QRD and quadrant is used ; |
| scale of 1/4 wooden pillar was
used. The method of how to improve the problem |
| of the audience seat’s echo
phenomena is put forth, continued with controlling |
| the boundary audience seat and
its surrounding. |
| While making a comprehensive
study, an out coming discovery proves that there |
| is a relative relationship
between different specific acoustics material and |
| its allocation as well as its
direction, and the same thing is happened with |
| frequency. While the audience
seat’s surroundings provides a diffuse that |
| leans on the reflection surface
firmly, the acoustics dazing light can be |
| reduced. Avoiding any
perpendicular angle of the solid angle on the back wall |
| of the audience seat can assist
the stage’s long-path reflection phenomena, |
| as well as providing diffuse
effect. |
| By simulating sound field’s
subjective estimate, and an objective in-scale |
| experi mental model, this
research is studying the problem of diffuse |
| materials allocation, as well as
raising questions about how to reduce the |
| phenomena of acoustics dazing
light and long-path reflection; expecting that |
| the result of this research can
assist the design making of domestic concert |
| hall. |