Prof. Dr. Stefan Weinzierl
- © TU Pressestelle
Audio Communication Group
stefan.weinzierl [at] tu-berlin.de 
Telephone: +49 30 - 314 253 59
Tuesday 12-14 Uhr
Appointments made with Ms. Grasse (Raum EN 321):
doris.grasse [at] tu-berlin.de 
Telephone: +49 30 - 314 222 36
Fields of Research
Virtual Acoustics (binaural technology, sound field synthesis), Room Acoustics, Audio technology, Auditory perception, Musical Acoustics
Introduction to Digital Signal Processing, Audio Technology I: Electro-acoustics and Room Acoustics, Virtual Acoustics, Music Acoustics
3SAT reports on
On December 3, 2016, 3SAT ran a feature on the Orchester Wiener Akademie and its director Martin Haselböck reporting on the concert series RE-SOUND Beethoven in which the orchestral works of L.v. Beethoven were presented in their historical performance practice in the original staging rooms of Beethovenʼs time. The project is based on Stefan Weinzierlʼs research on the room acoustics and symphonic presentation practice during the Beethoven era (Excerpt).
Die WELT reports on the auralisation of the Forum Romanum
On June 18th, 2016, Die WELT reports on the acoustic reconstructions of ancient public spaces, which were developed in cooperation with the Institute for Archaeology and Culture Science of the HU Berlin in the context of the interdisciplinary research project “Image - Knowledge - Design”.
PDF  / www.welt.de 
Forschung und Lehre reports on Audio Communication
The journal Forschung & Lehre (trans. Research and Teaching) reports on the Audio Communication Group in the April 2015 issue.
Technology Review reports on the research of Virtual
The journal Technology Review reports on the latest research in Virtual Acoustics, as well as the department of Audio Communication of the TU Berlin in the December 2014 issue.
forschung reports on the research group SEACEN
The magazine German Research of the german research community reports on the DFG research unit “Simulation and Evaluation of Acoustic Environments”, which is directed by Stefan Weinzierl (SEACEN, FOR 1557).
Born on June 6, 1967 in Bamberg | Diploma in Physics at the University of Erlangen and the TU Berlin, 1992 | Diploma in Music Production (Tonmeister) at the University of the Arts, Berlin, 1994 | Fellow of the Studienstiftung des deutschen Volkes | Studies in Musicology at the University of California at Berkeley, 1993-95 | Doctorate in the field of Music Acoustics with an acoustic reconstruction of the original performance rooms of L.v. Beethoven in Vienna, with Prof. Helga de la Motte-Haber and Jürgen Meyer, 1999.
1993-2000 Pianist and accompanist. Tours and CD-levelling with Tim Fischer, Jocelyn B. Smith, Yamil Borges, Irmgard Knef | Music critic for the Berliner Tagesspiegel, amongst others.
Since 1993, freelance Producer and Sound Engineer for Deutsche Grammophon (DGG), Teldec Classics, ars musici, CPO, Ondine, assai, Ambitus, Händler, Classic, Bayerischer Rundfunk, Südwestfunk, and Radio Svizzera Italiana (rsi) in Lugano, amongst others. German Record Prize, 1997.
1998-2003 Lecturer of Music Production and Digital Audio at the University of the Arts, Berlin.
2003 Appointed to professorship for “Theory of Music Production“ at the Erich-Thienhaus-Institute of the Hochschule für Musik Detmold.
Since 2004 Professor for Audio Communication at the TU Berlin.
Since 2007 Head of the Audio Communication Group and the mastes program “Audio Communication and Technology (M.Sc.) at the TU Berlin.
Since 2009 Dean of research, from 2012-2015 dean of Faculty I
Since 2001 Spokesperson for the DFG-Research group "Simulation and Evaluation of Acoustic Environments (SEACEN, FOR 1557)"
Since 2015 Head of the Hybrid-Plattform, Coordinator of the cooperation between the TU Berlin und University of the Arts, Berlin.
Since 2015 Coordinator of the European research project "Artist to Business to Business to Consumer Audio Branding System (ABC_DJ)", funded by the Programm Horizon2020 (ICT-19a, 688122).
Since 2017 coordinator and spokesman of the consortium SHAPING
SPACE , submitted as application for a cluster of excellence by
UdK Berlin and TU Berlin.
Stefan Weinzierl works as consultant in the field of room acoustics, for example, currently for the planning of the new concert hall in the Munich Werksviertel .
See also: Stefan Weinzierl (Wikipedia) 
|Author||Ackermann, David and Böhm, Christoph and Brinkmann, Fabian and Weinzierl, Stefan|
|Journal||Acta Acustica united with Acustica|
|Abstract||Acoustic musical instruments act as dynamic sound sources communicating the expressive intentions of a performer to the audience in a dedicated spatial environment. From an acoustical point of view, the directivity of musical instruments is relevant both for the loudness and timbre of an instrument at a certain position in the audience, as well as for the spatial characteristics of the generated sound ﬁeld. Musical instruments, however, are dynamic sound sources always moved by musicians as an element of their performance on stage. This work aims at assessing the acoustical eﬀect and the perceptual relevance of these movements. For this purpose, we have recorded solo musical performances with all standard orchestral instruments with an optical motion tracking system, as well as the corresponding audio signals. The eﬀect of the movements was evaluated by analysing the spectral ﬂuctuation and the time-dependence of room acoustical parameters in a virtual acoustic environment in anechoic and reverberant conditions. In a subsequent listening test, an auralization of the static and dynamic musical performance was presented to listeners by binaural synthesis, showing that the signal-related ﬂuctuations are clearly audible both in anechoic and reverberant situations. We discuss diﬀerent approaches how to consider these eﬀects for the simulation of natural acoustic sources in virtual acoustic reality.|