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1. J. S. Bradley, “ Using ISO 3382 measures, and their extensions, to evaluate acoustical conditions in concert halls,” Acoust. Sci. Technol. 26, 170178 (2005).
2. L. Beranek, “ The sound strength parameter G and its importance in evaluating and planning the acoustics of halls for music,” J. Acoust. Soc. Am. 129, 30203026 (2011).
3.ISO 3382-1:2009, “ Acoustics—Measurement of room acoustic parameters. Part 1: Performance spaces” ( International Organization for Standardization, Geneva, Switzerland, 2009).
4. J. J. Dammerud, “ Stage acoustics for symphony orchestras in concert halls,” Ph.D. thesis, University of Bath, 2009,
5. L. Beranek, Concert and Opera Halls: How They Sound ( Acoustical Society of America, New York, 1996).
6. L. Beranek, Concert and Opera Halls: Music, Acoustics, and Architecture, 2nd ed. ( Springer, New York, 2004).
7.It was confirmed that data from Bradley was acquired using the reverberation method. Data from Gade were acquired using the reverberation method with a correction applied using a reference field measurement and anechoic measured directivity data to allow for on-site level adjustments. Data from Hyde were acquired using the free-field method. Calibration methods for Matsuzawa and Müller-BBM datasets could not be confirmed, and the sets were no longer considered. Data for the Salle Pleyel by CSTB differed by more than 3 dB from other data and were removed as an outlier.
8. B. F. G. Katz, “ International round robin on room acoustical impulse response analysis software 2004,” Appl. Res. Lett. Online 5, 158164 (2004).
9. C. Hak, R. Wenmaekers, J. Hak, L. Van Luxemburg, and A. Gade, “ Sound strength calibration methods,” in International Congress on Acoustics, Sydney, Australia (2010), pp. 16.
10.It should be reiterated that the field and free field methods are not the same. Such confusion is further perpetuated by lack of apparent clarity in studies discussing a so-called Western calibration method (Refs. 5, 6, and 11).
11. L. Beranek and N. Nishihara, “ Mean-free-paths in concert and chamber music halls and the correct method for calibrating dodecahedral sound sources,” J. Acoust. Soc. Am. 135, 223230 (2014).
12. G. Pires, “ Determination of the sound power of an omni-directional sound source on behalf of a measurement of the sound strength in a room,” Master's thesis, Eindhoven University of Technology, 2004,
13. T. W. Leishman, S. Rollins, and H. M. Smith, “ An experimental evaluation of regular polyhedron loudspeakers as omnidirectional sources of soundJ. Acoust. Soc. Am. 120, 14111422 (2006).
14.It is noted that there was a 2 wk delay in making the calibration measurements, the equipment was transported by airplane, and the equipment employed had analog gain knobs, which where taped into position at the start of the measurement session, and remained taped until after the calibration measurement.
15.It should be noted that certain Src-Rec combinations were only measured with one of the two sources, due to time constraints (e.g., S3 was not measured with the smaller source).

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The room acoustic parameter “strength of sound ” is a measure of room amplification relative to a 10 m free-field reference. Due to this reference requirement, is often considered excessively difficult to measure. Standards require reference measurements using reverberation or anechoic chambers. While possible for well-equipped laboratories, this is impractical for most practitioners. Considering the entire measurement chain, stability of amplifier and converter gains must be identical between on-site and calibration measurements, which cannot always be assured. An calibration method is proposed, taking advantage of the full hall dataset. Results show significant advantages compared to previous methods.


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