Lépine
500+ Head-Fier
One of the great things about the RS8 imaging and sound stage capabilities is now doing Convolution with it.
I am still learning about convolution, but so far I have acquired a collection of impulse responses for the Promenadikeskus concert hall in Pori, Finland.
The RS8 is impressive as I virtually move around the seating locations in the concert hall.
Pitch, Timing, Reverberation, Perspective, Primary and Secondary Reflections, Harmonics all of these aspects are simulated. It is quite sophisticated.
Just for fun, I am now sitting in the mezzanine.
Concert Hall Impulse Responses — Pori, Finland: Reference Juha Merimaa1, Timo Peltonen2, and Tapio Lokki3 juha.merimaa@hut.fi, timo.peltonen@akukon.fi, tapio.lokki@hut.fi 1Laboratory of Acoustics and Audio Signal Processing Helsinki University of Technology P.O.Box 3000, FI-02015 TKK, Finland
125 Hz 250 Hz 500 Hz 1 kHz 2 kHz 4 kHz 8 kHz T30 (s) 2.7 2.5 2.4 2.4 2.1 1.7 1.2 EDT (s) 2.5 2.4 2.4 2.3 2.0 1.6 0.9 G (dB) 8.9 8.7 8.9 9.6 9.9 8.2 4.3 C80 (dB) −0.3 −3.6 −3.1 −1.8 −0.6 1.6 6.6 1 − IACCE 0.10 0.26 0.74 0.74 0.74 0.73 - 1 − IACCL 0.12 0.31 0.87 0.89 0.94 0.94 - LFP 0.24 0.24 0.28 0.37 0.34 0.41 - LFSF 0.37 0.33 0.34 0.37 0.48 0.59 - SNR (dB) 66.1 65.7 67.3 72.0 74.3 74.2 70.5
"The measurements were performed in the concert hall of Promenadikeskus located in Pori, Finland. The 700 seat hall was designed by Architect Company Guttner and built in 1999. The acoustic ¨ consulting was provided by Akukon Oy Consulting Engineers. The hall is illustrated with architectural drawings in Fig. 1, photographs in Figs. 2–4 and average room acoustical parameters in Table 1. For a description of the parameters1 and the computational methods, as well as further analysis of the individual source-receiver combinations, see the accompanying document (Merimaa et al., 2005). The hall is roughly shoebox shaped with dimensions of 33 x 23 x 15 m (length x width x height) yielding a total volume of approximately 9300 m2. There are balconies on both sides, and the floor rises towards the rear part of the hall. A variety of diffusers has been installed on the walls, and the hall has a set of hanging reflectors above the stage (see Figs. 3 and 4) projecting more early sound both to the audience as well as to the musicians. The upholstered seats have a folding seat cushion with perforation on the bottom plate, yielding a relatively small difference between the absorption of an occupied and an unoccupied seat. The first three rows of seats can be removed but they were present during the measurements. The measurements were conducted in an empty hall with three source positions on the stage, four receiver positions in the audience area, and three receiver positions on the stage. The positions were chosen according to recommendations of Gade (1989), and they are illustrated in the floorplan in Fig. 5 and listed in Table 2. Each stage position is specified with the distance to the foremost point on the stage (on the midline, denoted front of the stage) in the direction of the midline, as well as with the distance of the position from the midline. The receiver positions in the audience area are specified with row and seat numbers, where row 1 is the first (removable) row in front of the stage and seat numbers are given relative to the midline of the hall."
The processor demands are not bad at all. I am surprised that the convolution calculations are not processor intensive. I am able to use a Surface Pro 7 i7 16Gb computer to run the convolution with about 20% CPU and 2% GPU utilization. It does take more than 5Gb of RAM however for just the convolution.
If anyone cares, I did find a site that seems to have a large collection of impulse responses for purchase.
https://hofa-plugins.de/en/plugins/...MIntzTz7Ld-wIV5S2tBh3bdwOCEAMYASAAEgIQRPD_BwE
@Joe Bloggs
Concert Hall Impulse Responses - Pori, Finland
----------------------------------------------
The impulse response database described in this document is available
for download from http://www.acoustics.hut.fi/projects/poririrs/.
Contents of the document:
1. Introduction
2. Microphone and channel specifications
3. List of files
4. References
5. Copyright
1. Introduction
---------------
The responses included in the database were measured in the
Promenadikeskus concert hall located in Pori, Finland. The responses
are provided as 24-bit wav files including 2-5 channels depending on
the type of the response. Each wav file includes the combined response
to an omnidirectional dodecahedron loudspeaker and a subwoofer. The
responses have been measured with 3 source positions on the stage
(S1-S3), 4 receiver positions in the audience area (R1-R4), and 3
receiver positions on the stage (P1-P3). All provided responses are
system compensated and denoised.
2. Microphone and channel specifications
----------------------------------------
Microphone directions are specified in a Cartesian coordinate
system. The positive X direction (front) for each receiver position in
the audience area is defined as the direction towards the stage
perpendicular to the backs of the seats in the corresponding
position. For the receiver positions on the stage, the front is
defined as the direction perpendicular to and pointing towards the
front wall behind the stage. Positive Y and Z directions are defined
as left and up, respectively, when facing the front.
The utilized microphones and channels are defined as follows:
DPA 4006
Pair of DPA Type 4006 omnidirectional microphones facing the front
with a distance of 10 cm between them in the left-right direction.
L = leftmost microphone, R = rightmost microphone.
HATS
Brüel and Kjær HATS dummy head custom fitted with DPA Type 4053
microphones, facing the front. L = left ear input, R = right ear
input.
HATS, d.f. EQ
Same as HATS, but diffuse field equalized [1].
Pearl
Pearl TL-4 stereo condenser microphone with cardioid directivity
patterns. L = cardioid facing left, R = cardioid facing right.
SIRR
SoundField B-format signals processed with the SIRR method [1] for
reproduction with a standard 5.0 loudspeaker setup. Loudspeakers for
the corresponding channels should be located in the horizontal plane
equidistant from a listener with the following azimuthal angles:
left (L): 30, right (R): -30, center (C): 0, left surround (LS):
110, and right surround (RS): -110.
SoundField
B-format signals from a SoundField MKV microphone system. W is an
omnidirectional signal and X, Y, and Z have figure-of-eight
directivity patterns with positive directions aligned with the
corresponding positive coordinate axes.
3. List of files
----------------
The measurements with different microphones have been packed into
individual zip files. Furthermore, measurements with receivers on the
stage are available in separate packages. The full database includes
the following response packages:
File Contents Channels Src Rcv Microphone
---- -------- -------- --- --- ----------
binaural.zip s1_r1_b.wav L,R S1 R1 HATS
s1_r2_b.wav L,R S1 R2 HATS
s1_r3_b.wav L,R S1 R3 HATS
s1_r4_b.wav L,R S1 R4 HATS
s2_r1_b.wav L,R S2 R1 HATS
s2_r2_b.wav L,R S2 R2 HATS
s2_r3_b.wav L,R S2 R3 HATS
s2_r4_b.wav L,R S2 R4 HATS
s3_r1_b.wav L,R S3 R1 HATS
s3_r2_b.wav L,R S3 R2 HATS
s3_r3_b.wav L,R S3 R3 HATS
s3_r4_b.wav L,R S3 R4 HATS
bin_dfeq.zip s1_r1_bd.wav L,R S1 R1 HATS, d.f. EQ
s1_r2_bd.wav L,R S1 R2 HATS, d.f. EQ
s1_r3_bd.wav L,R S1 R3 HATS, d.f. EQ
s1_r4_bd.wav L,R S1 R4 HATS, d.f. EQ
s2_r1_bd.wav L,R S2 R1 HATS, d.f. EQ
s2_r2_bd.wav L,R S2 R2 HATS, d.f. EQ
s2_r3_bd.wav L,R S2 R3 HATS, d.f. EQ
s2_r4_bd.wav L,R S2 R4 HATS, d.f. EQ
s3_r1_bd.wav L,R S3 R1 HATS, d.f. EQ
s3_r2_bd.wav L,R S3 R2 HATS, d.f. EQ
s3_r3_bd.wav L,R S3 R3 HATS, d.f. EQ
s3_r4_bd.wav L,R S3 R4 HATS, d.f. EQ
cardioid.zip s1_r1_c.wav L,R S1 R1 Pearl
s1_r2_c.wav L,R S1 R2 Pearl
s1_r3_c.wav L,R S1 R3 Pearl
s1_r4_c.wav L,R S1 R4 Pearl
s2_r1_c.wav L,R S2 R1 Pearl
s2_r2_c.wav L,R S2 R2 Pearl
s2_r3_c.wav L,R S2 R3 Pearl
s2_r4_c.wav L,R S2 R4 Pearl
s3_r1_c.wav L,R S3 R1 Pearl
s3_r2_c.wav L,R S3 R2 Pearl
s3_r3_c.wav L,R S3 R3 Pearl
s3_r4_c.wav L,R S3 R4 Pearl
omni.zip s1_r1_o.wav L,R S1 R1 DPA 4006
s1_r2_o.wav L,R S1 R2 DPA 4006
s1_r3_o.wav L,R S1 R3 DPA 4006
s1_r4_o.wav L,R S1 R4 DPA 4006
s2_r1_o.wav L,R S2 R1 DPA 4006
s2_r2_o.wav L,R S2 R2 DPA 4006
s2_r3_o.wav L,R S2 R3 DPA 4006
s2_r4_o.wav L,R S2 R4 DPA 4006
s3_r1_o.wav L,R S3 R1 DPA 4006
s3_r2_o.wav L,R S3 R2 DPA 4006
s3_r3_o.wav L,R S3 R3 DPA 4006
s3_r4_o.wav L,R S3 R4 DPA 4006
omni_p.zip s1_p1_o.wav L,R S1 P1 DPA 4006
s1_p2_o.wav L,R S1 P2 DPA 4006
s1_p3_o.wav L,R S1 P3 DPA 4006
s2_p1_o.wav L,R S2 P1 DPA 4006
s2_p2_o.wav L,R S2 P2 DPA 4006
s2_p3_o.wav L,R S2 P3 DPA 4006
s3_p1_o.wav L,R S3 P1 DPA 4006
s3_p2_o.wav L,R S3 P2 DPA 4006
s3_p3_o.wav L,R S3 P3 DPA 4006
sirr.zip s1_r1_sr.wav L,R,C,LS,RS S1 R1 SIRR
s1_r2_sr.wav L,R,C,LS,RS S1 R2 SIRR
s1_r3_sr.wav L,R,C,LS,RS S1 R3 SIRR
s1_r4_sr.wav L,R,C,LS,RS S1 R4 SIRR
s2_r1_sr.wav L,R,C,LS,RS S2 R1 SIRR
s2_r2_sr.wav L,R,C,LS,RS S2 R2 SIRR
s2_r3_sr.wav L,R,C,LS,RS S2 R3 SIRR
s2_r4_sr.wav L,R,C,LS,RS S2 R4 SIRR
s3_r1_sr.wav L,R,C,LS,RS S3 R1 SIRR
s3_r2_sr.wav L,R,C,LS,RS S3 R2 SIRR
s3_r3_sr.wav L,R,C,LS,RS S3 R3 SIRR
s3_r4_sr.wav L,R,C,LS,RS S3 R4 SIRR
sndfld.zip s1_r1_sf.wav W,X,Y,Z S1 R1 SoundField
s1_r2_sf.wav W,X,Y,Z S1 R2 SoundField
s1_r3_sf.wav W,X,Y,Z S1 R3 SoundField
s1_r4_sf.wav W,X,Y,Z S1 R4 SoundField
s2_r1_sf.wav W,X,Y,Z S2 R1 SoundField
s2_r2_sf.wav W,X,Y,Z S2 R2 SoundField
s2_r3_sf.wav W,X,Y,Z S2 R3 SoundField
s2_r4_sf.wav W,X,Y,Z S2 R4 SoundField
s3_r1_sf.wav W,X,Y,Z S3 R1 SoundField
s3_r2_sf.wav W,X,Y,Z S3 R2 SoundField
s3_r3_sf.wav W,X,Y,Z S3 R3 SoundField
s3_r4_sf.wav W,X,Y,Z S3 R4 SoundField
sndfld_p.zip s1_r1_sf.wav W,X,Y,Z S1 P1 SoundField
s1_r2_sf.wav W,X,Y,Z S1 P2 SoundField
s1_r3_sf.wav W,X,Y,Z S1 P3 SoundField
s2_r1_sf.wav W,X,Y,Z S2 P1 SoundField
s2_r2_sf.wav W,X,Y,Z S2 P2 SoundField
s2_r3_sf.wav W,X,Y,Z S2 P3 SoundField
s3_r1_sf.wav W,X,Y,Z S3 P1 SoundField
s3_r2_sf.wav W,X,Y,Z S3 P2 SoundField
s3_r3_sf.wav W,X,Y,Z S3 P3 SoundField
4. References
-------------
[1] J. Merimaa, T. Peltonen, and T. Lokki, 2005: "Concert hall impulse
responses - Pori, Finland: Reference." Available at
http://www.acoustics.hut.fi/projects/poririrs/.
[2] J. Merimaa, T. Peltonen, and T. Lokki, 2005: "Concert hall impulse
responses - Pori, Finland: Analysis results." Available at
http://www.acoustics.hut.fi/projects/poririrs/.
5. Copyright
------------
SIRR processed data are Copyright (C)2005 by Helsinki University of
Technology (TKK). All other data are Copyright (C)2005 by TKK, Akukon
Oy Consulting Engineers, and the authors. The data are provided free
for noncommercial purposes, provided the authors are cited when the
data are used in any research application. Commercial use is
prohibited and allowed only by written permission of the copyright
owners.
I am still learning about convolution, but so far I have acquired a collection of impulse responses for the Promenadikeskus concert hall in Pori, Finland.
The RS8 is impressive as I virtually move around the seating locations in the concert hall.
Pitch, Timing, Reverberation, Perspective, Primary and Secondary Reflections, Harmonics all of these aspects are simulated. It is quite sophisticated.
Just for fun, I am now sitting in the mezzanine.
Concert Hall Impulse Responses — Pori, Finland: Reference Juha Merimaa1, Timo Peltonen2, and Tapio Lokki3 juha.merimaa@hut.fi, timo.peltonen@akukon.fi, tapio.lokki@hut.fi 1Laboratory of Acoustics and Audio Signal Processing Helsinki University of Technology P.O.Box 3000, FI-02015 TKK, Finland
125 Hz 250 Hz 500 Hz 1 kHz 2 kHz 4 kHz 8 kHz T30 (s) 2.7 2.5 2.4 2.4 2.1 1.7 1.2 EDT (s) 2.5 2.4 2.4 2.3 2.0 1.6 0.9 G (dB) 8.9 8.7 8.9 9.6 9.9 8.2 4.3 C80 (dB) −0.3 −3.6 −3.1 −1.8 −0.6 1.6 6.6 1 − IACCE 0.10 0.26 0.74 0.74 0.74 0.73 - 1 − IACCL 0.12 0.31 0.87 0.89 0.94 0.94 - LFP 0.24 0.24 0.28 0.37 0.34 0.41 - LFSF 0.37 0.33 0.34 0.37 0.48 0.59 - SNR (dB) 66.1 65.7 67.3 72.0 74.3 74.2 70.5
"The measurements were performed in the concert hall of Promenadikeskus located in Pori, Finland. The 700 seat hall was designed by Architect Company Guttner and built in 1999. The acoustic ¨ consulting was provided by Akukon Oy Consulting Engineers. The hall is illustrated with architectural drawings in Fig. 1, photographs in Figs. 2–4 and average room acoustical parameters in Table 1. For a description of the parameters1 and the computational methods, as well as further analysis of the individual source-receiver combinations, see the accompanying document (Merimaa et al., 2005). The hall is roughly shoebox shaped with dimensions of 33 x 23 x 15 m (length x width x height) yielding a total volume of approximately 9300 m2. There are balconies on both sides, and the floor rises towards the rear part of the hall. A variety of diffusers has been installed on the walls, and the hall has a set of hanging reflectors above the stage (see Figs. 3 and 4) projecting more early sound both to the audience as well as to the musicians. The upholstered seats have a folding seat cushion with perforation on the bottom plate, yielding a relatively small difference between the absorption of an occupied and an unoccupied seat. The first three rows of seats can be removed but they were present during the measurements. The measurements were conducted in an empty hall with three source positions on the stage, four receiver positions in the audience area, and three receiver positions on the stage. The positions were chosen according to recommendations of Gade (1989), and they are illustrated in the floorplan in Fig. 5 and listed in Table 2. Each stage position is specified with the distance to the foremost point on the stage (on the midline, denoted front of the stage) in the direction of the midline, as well as with the distance of the position from the midline. The receiver positions in the audience area are specified with row and seat numbers, where row 1 is the first (removable) row in front of the stage and seat numbers are given relative to the midline of the hall."
The processor demands are not bad at all. I am surprised that the convolution calculations are not processor intensive. I am able to use a Surface Pro 7 i7 16Gb computer to run the convolution with about 20% CPU and 2% GPU utilization. It does take more than 5Gb of RAM however for just the convolution.
If anyone cares, I did find a site that seems to have a large collection of impulse responses for purchase.
https://hofa-plugins.de/en/plugins/...MIntzTz7Ld-wIV5S2tBh3bdwOCEAMYASAAEgIQRPD_BwE
@Joe Bloggs
Concert Hall Impulse Responses - Pori, Finland
----------------------------------------------
The impulse response database described in this document is available
for download from http://www.acoustics.hut.fi/projects/poririrs/.
Contents of the document:
1. Introduction
2. Microphone and channel specifications
3. List of files
4. References
5. Copyright
1. Introduction
---------------
The responses included in the database were measured in the
Promenadikeskus concert hall located in Pori, Finland. The responses
are provided as 24-bit wav files including 2-5 channels depending on
the type of the response. Each wav file includes the combined response
to an omnidirectional dodecahedron loudspeaker and a subwoofer. The
responses have been measured with 3 source positions on the stage
(S1-S3), 4 receiver positions in the audience area (R1-R4), and 3
receiver positions on the stage (P1-P3). All provided responses are
system compensated and denoised.
2. Microphone and channel specifications
----------------------------------------
Microphone directions are specified in a Cartesian coordinate
system. The positive X direction (front) for each receiver position in
the audience area is defined as the direction towards the stage
perpendicular to the backs of the seats in the corresponding
position. For the receiver positions on the stage, the front is
defined as the direction perpendicular to and pointing towards the
front wall behind the stage. Positive Y and Z directions are defined
as left and up, respectively, when facing the front.
The utilized microphones and channels are defined as follows:
DPA 4006
Pair of DPA Type 4006 omnidirectional microphones facing the front
with a distance of 10 cm between them in the left-right direction.
L = leftmost microphone, R = rightmost microphone.
HATS
Brüel and Kjær HATS dummy head custom fitted with DPA Type 4053
microphones, facing the front. L = left ear input, R = right ear
input.
HATS, d.f. EQ
Same as HATS, but diffuse field equalized [1].
Pearl
Pearl TL-4 stereo condenser microphone with cardioid directivity
patterns. L = cardioid facing left, R = cardioid facing right.
SIRR
SoundField B-format signals processed with the SIRR method [1] for
reproduction with a standard 5.0 loudspeaker setup. Loudspeakers for
the corresponding channels should be located in the horizontal plane
equidistant from a listener with the following azimuthal angles:
left (L): 30, right (R): -30, center (C): 0, left surround (LS):
110, and right surround (RS): -110.
SoundField
B-format signals from a SoundField MKV microphone system. W is an
omnidirectional signal and X, Y, and Z have figure-of-eight
directivity patterns with positive directions aligned with the
corresponding positive coordinate axes.
3. List of files
----------------
The measurements with different microphones have been packed into
individual zip files. Furthermore, measurements with receivers on the
stage are available in separate packages. The full database includes
the following response packages:
File Contents Channels Src Rcv Microphone
---- -------- -------- --- --- ----------
binaural.zip s1_r1_b.wav L,R S1 R1 HATS
s1_r2_b.wav L,R S1 R2 HATS
s1_r3_b.wav L,R S1 R3 HATS
s1_r4_b.wav L,R S1 R4 HATS
s2_r1_b.wav L,R S2 R1 HATS
s2_r2_b.wav L,R S2 R2 HATS
s2_r3_b.wav L,R S2 R3 HATS
s2_r4_b.wav L,R S2 R4 HATS
s3_r1_b.wav L,R S3 R1 HATS
s3_r2_b.wav L,R S3 R2 HATS
s3_r3_b.wav L,R S3 R3 HATS
s3_r4_b.wav L,R S3 R4 HATS
bin_dfeq.zip s1_r1_bd.wav L,R S1 R1 HATS, d.f. EQ
s1_r2_bd.wav L,R S1 R2 HATS, d.f. EQ
s1_r3_bd.wav L,R S1 R3 HATS, d.f. EQ
s1_r4_bd.wav L,R S1 R4 HATS, d.f. EQ
s2_r1_bd.wav L,R S2 R1 HATS, d.f. EQ
s2_r2_bd.wav L,R S2 R2 HATS, d.f. EQ
s2_r3_bd.wav L,R S2 R3 HATS, d.f. EQ
s2_r4_bd.wav L,R S2 R4 HATS, d.f. EQ
s3_r1_bd.wav L,R S3 R1 HATS, d.f. EQ
s3_r2_bd.wav L,R S3 R2 HATS, d.f. EQ
s3_r3_bd.wav L,R S3 R3 HATS, d.f. EQ
s3_r4_bd.wav L,R S3 R4 HATS, d.f. EQ
cardioid.zip s1_r1_c.wav L,R S1 R1 Pearl
s1_r2_c.wav L,R S1 R2 Pearl
s1_r3_c.wav L,R S1 R3 Pearl
s1_r4_c.wav L,R S1 R4 Pearl
s2_r1_c.wav L,R S2 R1 Pearl
s2_r2_c.wav L,R S2 R2 Pearl
s2_r3_c.wav L,R S2 R3 Pearl
s2_r4_c.wav L,R S2 R4 Pearl
s3_r1_c.wav L,R S3 R1 Pearl
s3_r2_c.wav L,R S3 R2 Pearl
s3_r3_c.wav L,R S3 R3 Pearl
s3_r4_c.wav L,R S3 R4 Pearl
omni.zip s1_r1_o.wav L,R S1 R1 DPA 4006
s1_r2_o.wav L,R S1 R2 DPA 4006
s1_r3_o.wav L,R S1 R3 DPA 4006
s1_r4_o.wav L,R S1 R4 DPA 4006
s2_r1_o.wav L,R S2 R1 DPA 4006
s2_r2_o.wav L,R S2 R2 DPA 4006
s2_r3_o.wav L,R S2 R3 DPA 4006
s2_r4_o.wav L,R S2 R4 DPA 4006
s3_r1_o.wav L,R S3 R1 DPA 4006
s3_r2_o.wav L,R S3 R2 DPA 4006
s3_r3_o.wav L,R S3 R3 DPA 4006
s3_r4_o.wav L,R S3 R4 DPA 4006
omni_p.zip s1_p1_o.wav L,R S1 P1 DPA 4006
s1_p2_o.wav L,R S1 P2 DPA 4006
s1_p3_o.wav L,R S1 P3 DPA 4006
s2_p1_o.wav L,R S2 P1 DPA 4006
s2_p2_o.wav L,R S2 P2 DPA 4006
s2_p3_o.wav L,R S2 P3 DPA 4006
s3_p1_o.wav L,R S3 P1 DPA 4006
s3_p2_o.wav L,R S3 P2 DPA 4006
s3_p3_o.wav L,R S3 P3 DPA 4006
sirr.zip s1_r1_sr.wav L,R,C,LS,RS S1 R1 SIRR
s1_r2_sr.wav L,R,C,LS,RS S1 R2 SIRR
s1_r3_sr.wav L,R,C,LS,RS S1 R3 SIRR
s1_r4_sr.wav L,R,C,LS,RS S1 R4 SIRR
s2_r1_sr.wav L,R,C,LS,RS S2 R1 SIRR
s2_r2_sr.wav L,R,C,LS,RS S2 R2 SIRR
s2_r3_sr.wav L,R,C,LS,RS S2 R3 SIRR
s2_r4_sr.wav L,R,C,LS,RS S2 R4 SIRR
s3_r1_sr.wav L,R,C,LS,RS S3 R1 SIRR
s3_r2_sr.wav L,R,C,LS,RS S3 R2 SIRR
s3_r3_sr.wav L,R,C,LS,RS S3 R3 SIRR
s3_r4_sr.wav L,R,C,LS,RS S3 R4 SIRR
sndfld.zip s1_r1_sf.wav W,X,Y,Z S1 R1 SoundField
s1_r2_sf.wav W,X,Y,Z S1 R2 SoundField
s1_r3_sf.wav W,X,Y,Z S1 R3 SoundField
s1_r4_sf.wav W,X,Y,Z S1 R4 SoundField
s2_r1_sf.wav W,X,Y,Z S2 R1 SoundField
s2_r2_sf.wav W,X,Y,Z S2 R2 SoundField
s2_r3_sf.wav W,X,Y,Z S2 R3 SoundField
s2_r4_sf.wav W,X,Y,Z S2 R4 SoundField
s3_r1_sf.wav W,X,Y,Z S3 R1 SoundField
s3_r2_sf.wav W,X,Y,Z S3 R2 SoundField
s3_r3_sf.wav W,X,Y,Z S3 R3 SoundField
s3_r4_sf.wav W,X,Y,Z S3 R4 SoundField
sndfld_p.zip s1_r1_sf.wav W,X,Y,Z S1 P1 SoundField
s1_r2_sf.wav W,X,Y,Z S1 P2 SoundField
s1_r3_sf.wav W,X,Y,Z S1 P3 SoundField
s2_r1_sf.wav W,X,Y,Z S2 P1 SoundField
s2_r2_sf.wav W,X,Y,Z S2 P2 SoundField
s2_r3_sf.wav W,X,Y,Z S2 P3 SoundField
s3_r1_sf.wav W,X,Y,Z S3 P1 SoundField
s3_r2_sf.wav W,X,Y,Z S3 P2 SoundField
s3_r3_sf.wav W,X,Y,Z S3 P3 SoundField
4. References
-------------
[1] J. Merimaa, T. Peltonen, and T. Lokki, 2005: "Concert hall impulse
responses - Pori, Finland: Reference." Available at
http://www.acoustics.hut.fi/projects/poririrs/.
[2] J. Merimaa, T. Peltonen, and T. Lokki, 2005: "Concert hall impulse
responses - Pori, Finland: Analysis results." Available at
http://www.acoustics.hut.fi/projects/poririrs/.
5. Copyright
------------
SIRR processed data are Copyright (C)2005 by Helsinki University of
Technology (TKK). All other data are Copyright (C)2005 by TKK, Akukon
Oy Consulting Engineers, and the authors. The data are provided free
for noncommercial purposes, provided the authors are cited when the
data are used in any research application. Commercial use is
prohibited and allowed only by written permission of the copyright
owners.
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