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，需要一种改变房间的固定自然声学的综合方法。采用电声和数字信号处理的有源声学提供了改善声学条件的手段，使音乐家能够实现最佳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效果，其中非响应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拓宽建筑空间的功能，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。这种从虚拟建筑中借用声学质量的能力在音乐中发挥了独特的促进作用，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，在实现完全透明和自然的电子声学方面仍然存在障碍，本研究旨在消除这些障碍。商业增强系统经常遇到来自赞助人和用户的争议和批评;一些系统在最初批准后仍然关闭。因此，需要一种更严格的研究方法，并在专业用户（包括独奏和合奏音乐家）的帮助下进行心理声学测试和信号处理开发。这种需要的部分理由是，每年仍在建造新的霍尔斯，但这些音乐厅不能为音乐家和听众提供适当的条件。

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.