Biblio

Waveguided air-coupled ultrasonic phased arrays offer grating-lobe-free beam forming for many applications such as obstacle detection, non-destructive testing, flow metering or tactile feedback. However, for industrial applications, the open output ports of the waveguide can be clogged due to dust, liquids or dirt leading to additional acoustic attenuation. In previous work, we presented the effectiveness of hydrophobic fabrics as a protection layer for acoustic waveguides. In this work, we created a numerical model of the waveguide including the hydrophobic fabric allowing the prediction of the insertion loss (IL). The numerical model uses the boundary element method (BEM) and the finite element method (FEM) in the frequency domain including the waveguide, the hydrophobic fabric and the finite-sized rigid baffle used in the measurements. All walls are assumed as ideal sound hard and the transducers are ideal piston transducers. The specific flow resistivity of the hydrophobic fabric, which is required for the simulation, is analyzed using a 3D-printed flow pipe. The simulations are validated with a calibrated microphone in an anechoic chamber. The IL of the simulations are within the uncertainties of the measurements. In addition, both the measurements and the simulations have no significant influence on the beamforming capabilities.

The aim of the project SIMOPERA is to simulate and optimize the acoustics in large and complex rooms, with special focus on the Deutsche Oper Berlin as an example of application. Firstly, characteristic subspaces of the opera are considered such as the orchestra pit, the stage and the auditorium. Special attention is paid to the orchestra pit, where high sound pressure levels can occur, leading to noise related risks for the musicians. However, lowering the sound pressure level in the orchestra pit should not violate other objectives as the propagation of sound into the auditorium, the balance between the stage performers and the orchestra across the hall, and the mutual audibility between performers and orchestra members. For that reason, a hybrid simulation method consisting of the wave-based Finite Element Method (FEM) and the Boundary Element Method (BEM) for low frequencies and geometrical methods like the mirror source method and ray tracing for higher frequencies is developed in order to determine the relevant room acoustic quantities such as impulse response functions, reverberation time, clarity, center time etc. Measurements in the opera will continuously accompany the numerical calculations. Finally, selected constructive means for reducing the sound level in the orchestra pit will be analyzed.