Self-Optimizing Near-Zero-Latency Electronic Enhancement of Room Acoustics Based on Convolution of Impulse Sequences

考虑到口语、室内乐和交响乐、歌剧和合唱以及放大表演的不同声学要求，一种改变房间固定自然声学的综合方法是可取的。采用电声学和数字信号处理的有源声学提供了改善声学条件的手段，使音乐家能够获得尽可能好的合奏表演和与观众的交流。它用于纠正一些建筑围护结构中存在的不良声学，其中非响应性声学可以升级为虚拟建筑的丰富响应。可变电子架构的存在可以极大地扩展建筑空间的功能，因为新的系统响应可以在按下按钮时为音乐呈现最合适的声学条件。这种从虚拟架构借用音质的能力在音乐中发挥着独特的使能作用，但也带来了相当大的技术要求和挑战。即使在房间电声增强领域取得了60年的进步之后，在实现完全透明和自然的电子声学方面仍然存在障碍，本研究的目的是消除这些障碍。商业增强系统往往会遇到争议，并受到顾客和用户的批评；一些系统在最初获得批准后仍处于关闭状态。因此，需要在包括独奏和合奏音乐家在内的专业用户的帮助下进行心理声学测试和信号处理开发，以支持更严格的研究方法。每年仍在修建新的音乐厅，无法为音乐家和听众提供合适的条件，这在一定程度上证明了这种需求的合理性。

Given the divergent acoustic requirements for spoken word, chamber and symphonic music, opera and chorus, as well as amplified performances, a comprehensive method of varying the fixed natural acoustics of a room is desirable. Active acoustics employing electroacoustics and digital signal processing provides the means for improving acoustic conditions enabling musicians to achieve best possible ensemble performance and communication with the audience. It serves to correct poor acoustics existing in some architectural enclosures where non-responsive acoustics can be upgraded to rich response of virtual architecture. The presence of variable electronic architecture can dramatically widen the functionality of an architectural space because a new system response can render the most suitable acoustic conditions for the music at a push of a button. Such ability to borrow the acoustic quality from a virtual architecture plays a unique enabling role in music but brings considerable technological requirements and challenges. Even after sixty years of progress in the field of electroacoustic enhancement of rooms, barriers still exist in achieving a full transparency and naturalness of electronic acoustics, which this research aims to remove. Commercial enhancement systems more often than not meet with controversy mixed with criticism from patrons and users; some systems remain turned off after their initial approval. There is therefore a need for a more rigorous research approach supported by psychoacoustic testing and signal processing development conducted with the help of professional users, including solo and ensemble musicians. This need is partly justified by the fact that new halls are still being built each year that fall short of providing suitable conditions for musicians and listeners.