minor corrections of manual

doc/tascar.sty

@@ -534,8 +534,8 @@ TASCAR
 
 G. Grimm, J. Luberadzka, F. Schwark, T. Herzke, V. Hohmann:\\
 {\bf TASCAR -- #1}\\
-Copyright \copyright{} 2020\\
-Carl-von-Ossietzky Universit\"at Oldenburg\\
+Copyright \copyright{} 2013 -- \the\year{}\\
+Carl von Ossietzky Universit\"at Oldenburg\\
 Marie-Curie-Str. 2\\
 D--26129 Oldenburg
 

manual/manual.tex

@@ -141,83 +141,36 @@
 
 \section*{Preface}
 
-This user manual is -- as the whole \tascar{} toolbox -- work in
-progress. Bug reports and feature wishes, like, for example, improved
-documentation of specific features, should directly sent to any of the
-authors of \tascar{}.
+This user manual is a work in progress, just like the entire \tascar{} toolbox. We welcome your feedback: please submit bug reports and suggestions, such as improved documentation for specific features, directly to the \tascar{} author through our GitHub issues tracker at \url{https://github.com/gisogrimm/tascar/issues}.
 
 \section{Introduction}
 
-\tascar{} -- toolbox for acoustic scene creation and rendering -- is a
-software designed for rendering virtual acoustic environments
-\citep{Grimm2015a,Grimm2016a,Grimm2019}.
-%
-In \tascar{} we can design virtual acoustic environments, here called
-{\em scenes}, which are then rendered in real time and can be played
-using any playback system.
-%
-These virtual acoustic scenes created with \tascar{} can also be
-explored interactively by the user in real time, for example using
-headphones and a joystick to control movement in the acoustic space.
-%
-Direct sound paths as well as image sources generated by a geometric
-image source model can be dynamically rendered.
-%
-It should be noted, however, that \tascar{} is not a room acoustics
-simulator, and the goal of \tascar{} is not to accurately reproduce the
-sound field in a room, but to provide a fast and perceptually plausible
-method for representing virtual acoustic environments in real time.
-%
-The \tascar{} software is suitable for building dynamic and interactive
-environments that can be used in hearing aid development and evaluation,
-psychophysics with adaptive changes in spatial configuration, soundscape
-simulation, and computer games.
+The \tascar{} toolbox is designed for the creation and rendering of virtual acoustic environments \citep{Grimm2015a,Grimm2016a,Grimm2019}. With \tascar{}, users have the capacity to construct virtual acoustic 'scenes', which can be rendered in real-time and experienced through any sound playback system.
 
-An acoustic scene in its simplest form consists of three types of
-objects: sound sources, receiver and reflectors.
-%
-Each object has a position and orientation in the virtual space in a
-given time.
-%
-To simulate an object in motion, the object's position or orientation
-have to change over time.
+Notably, these acoustic scenes can be manipulated and explored interactively by the user in real-time, such as through the use of headphones and a joystick for directional control within the acoustic space. Both direct sound paths and image sources, created through a geometrical image source model, can be rendered dynamically.
 
-The position of the receiver corresponds to the point in virtual space
-for which the simulation is rendered.
-%
-The rendering is based on the direction of incidence relative to the
-orientation of the receiver.
-%
-To simulate the sound field, some acoustic phenomena such as
-reflections, air absorption or diffraction are mimicked.
-%
-These acoustic simulation methods are discussed in detail in the second
-chapter.
+However, it's essential to clarify that \tascar{} is not intended to function as a room acoustics simulator. Rather, its aim is to offer a rapid and perceptually credible approach for representing virtual acoustic environments in real-time. \tascar{} is adept at creating dynamic, interactive environments suitable for a range of applications, from hearing aid development and assessment, adaptive changes in spatial configuration psychophysics, soundscape simulation, to computer games.
 
-A list of \tascar{}-rendered scenes is described in \citet{Grimm2016}
-and \citet{Hendrikse2019a}.
-%
-Validation of the principle applicability to hearing aid research can
-be found in \citet{Grimm2015b}.
-%
-Distance perception was evaluated in \citet{Grimm2015c}.
+%\tascar{} -- toolbox for acoustic scene creation and rendering -- is a software designed for rendering virtual acoustic environments \citep{Grimm2015a,Grimm2016a,Grimm2019}.  In \tascar{} we can design virtual acoustic environments, here called {\em scenes}, which are then rendered in real time and can be played using any playback system.  These virtual acoustic scenes created with \tascar{} can also be explored interactively by the user in real time, for example using headphones and a joystick to control movement in the acoustic space.  Direct sound paths as well as image sources generated by a geometric image source model can be dynamically rendered.  It should be noted, however, that \tascar{} is not a room acoustics simulator, and the goal of \tascar{} is not to accurately reproduce the sound field in a room, but to provide a fast and perceptually plausible method for representing virtual acoustic environments in real time.  The \tascar{} software is suitable for building dynamic and interactive environments that can be used in hearing aid development and evaluation, psychophysics with adaptive changes in spatial configuration, soundscape simulation, and computer games.
+
+In its simplest form, an acoustic scene consists of three types of objects: Sound sources, a receiver and reflectors. Each of these objects occupies a specific position and orientation within the virtual space at a specific time. To recreate the effect of a moving object, the position or orientation of the object can be changed over time.
+
+The position of the receiver corresponds to the point in the virtual space at which the simulation is rendered. This rendering depends on the direction of incidence relative to the orientation of the receiver. To simulate the sound field, various acoustic phenomena such as reflections, air absorption or diffraction are simulated. A comprehensive discussion of these acoustic simulation methods can be found in the second chapter.
+
+%A list of \tascar{}-rendered scenes is described in \citet{Grimm2016}
+%and \citet{Hendrikse2019a}.
+%%
+%Validation of the principle applicability to hearing aid research can
+%be found in \citet{Grimm2015b}.
+%%
+%Distance perception was evaluated in \citet{Grimm2015c}.
 
 
 \section{General remarks and invocation}
 
-\tascar{} is provided as a Debian package for long-term stable
-versions of Ubuntu Linux.
-%
-Installation information can be found at \url{http://install.tascar.org/}.
-%
-Updates are available via the system's package management system.
-%
-Latest news, mostly information on updates, can be found at
-\url{http://news.tascar.org/}.
-%
-A newsletter with information on important \tascar{} releases is
-available; for subscription please contact the main author.
-%
+
+\tascar{} is primarily developed and tested on Linux. \tascar{} is provided as a Debian package for long-term stable versions of Ubuntu Linux.  For MacOS, \tascar{} can be installed via the `homebrew' system. A binary version for Microsoft Windows can be found on the github release page. Further information on installation can be found at \url{http://install.tascar.org/}. Current news, especially information on updates, can be found at \url{http://tascar.org/}.
+
 Table \ref{tab:instdir} provides a list of installation directories.
 
 \begin{table}[htb]
@@ -1314,24 +1267,21 @@ \subsection{Loudspeaker-based receiver types}\label{sec:speaker}\index{loudspeak
 
 \input{tabspeakerbased.tex}
 
-With all loudspeaker-based receiver types it is possible to specify an
-impulse response for convolution for each loudspeaker channel
-(attribute \attr{conv} of element \elem{speaker} in the layout
-definition).
-%
-If an impulse response is provided for one channel, an impulse
-response with the same number of channels need to be provided for all
-other channels as well.
-%
-The output of the convolution will be provided in additional output
-channels; use the attribute \attr{convlabels} to set the names of
-those channels.
-%
-The convolution can be applied before or after loudspeaker gain and delay
-compensation.
-%
-Currently, this method will not work in layouts with subwoofer
-definitions.
+For all receiver types that utilize loudspeakers, an impulse response can be designated for convolution for each loudspeaker channel, as indicated by the \attr{conv} attribute of the \elem{speaker} element in the layout definition. If an impulse response is assigned to one channel, a corresponding impulse response with the same channel count must also be specified for all other channels. 
+
+The convolution's output will be available in supplementary output channels; you can assign the names of these channels using the \attr{convlabels} attribute. The convolution may be carried out either prior to or following the compensation for loudspeaker gain and delay. 
+
+Bear in mind, this method is currently not compatible with layouts that include subwoofer definitions. If you wish to utilize HRTF databases in SOFA format, use the \attr{sofa\_file} attribute. At present, only binaural SOFA databases are supported. Here is an example:
+
+\begin{lstlisting}[numbers=none]
+  <scene>
+    ...
+    <receiver type="hoa2d">
+      <layout addring="16" sofa_file="MIT_KEMAR_normal_pinna.sofa"/>
+    </receiver>
+  </scene>
+\end{lstlisting}
+
 
 \input{oscdoc_receivermod_base_speaker.tex}