Comparison of Spatial Audio Techniques for use in Stage Acoustic Laboratory Experiments

Research output: Contribution to conferencePaper

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Comparison of Spatial Audio Techniques for use in Stage Acoustic Laboratory Experiments. / Laird, Iain; Murphy, Damian Thomas; Chapman, Paul.

2014. 140-146 Paper presented at EAA Joint Symposium on Auralization and Ambisonics, Berlin, Germany.

Research output: Contribution to conferencePaper

Harvard

Laird, I, Murphy, DT & Chapman, P 2014, 'Comparison of Spatial Audio Techniques for use in Stage Acoustic Laboratory Experiments' Paper presented at EAA Joint Symposium on Auralization and Ambisonics, Berlin, Germany, 3/04/14 - 5/04/14, pp. 140-146. https://doi.org/10.14279/depositonce-23

APA

Laird, I., Murphy, D. T., & Chapman, P. (2014). Comparison of Spatial Audio Techniques for use in Stage Acoustic Laboratory Experiments. 140-146. Paper presented at EAA Joint Symposium on Auralization and Ambisonics, Berlin, Germany. https://doi.org/10.14279/depositonce-23

Vancouver

Laird I, Murphy DT, Chapman P. Comparison of Spatial Audio Techniques for use in Stage Acoustic Laboratory Experiments. 2014. Paper presented at EAA Joint Symposium on Auralization and Ambisonics, Berlin, Germany. https://doi.org/10.14279/depositonce-23

Author

Laird, Iain ; Murphy, Damian Thomas ; Chapman, Paul. / Comparison of Spatial Audio Techniques for use in Stage Acoustic Laboratory Experiments. Paper presented at EAA Joint Symposium on Auralization and Ambisonics, Berlin, Germany.6 p.

Bibtex - Download

@conference{4e1e893ee9b649cf81d9a68c23101883,
title = "Comparison of Spatial Audio Techniques for use in Stage Acoustic Laboratory Experiments",
abstract = "Real-time auralisation systems are increasingly being used by researchers aiming to observe how particular stage and auditorium configurations affect a musician’s performance technique. These experiments typically take place in controlled laboratory conditions equipped with auralisation systems capable of reproducing the 3D acoustic conditions of a performance space in response to a performing musician in real-time. This paper compares the performance of First Order Ambisonics and Spatial Impulse Response Rendering in terms of both objective measurements and subjective listening tests. It was found that both techniques spatialised single reflections with similar accuracy when measured at the sweet spot. Informal listening tests found that the techniques produced very similar perceived results both for synthesised impulse responses and for measured stage acoustic impulse responses.",
keywords = "ambisonics, auralisation, stage acoustics, virtual performance",
author = "Iain Laird and Murphy, {Damian Thomas} and Paul Chapman",
year = "2014",
month = "3",
day = "18",
doi = "10.14279/depositonce-23",
language = "English",
pages = "140--146",
note = "EAA Joint Symposium on Auralization and Ambisonics ; Conference date: 03-04-2014 Through 05-04-2014",

}

RIS (suitable for import to EndNote) - Download

TY - CONF

T1 - Comparison of Spatial Audio Techniques for use in Stage Acoustic Laboratory Experiments

AU - Laird, Iain

AU - Murphy, Damian Thomas

AU - Chapman, Paul

PY - 2014/3/18

Y1 - 2014/3/18

N2 - Real-time auralisation systems are increasingly being used by researchers aiming to observe how particular stage and auditorium configurations affect a musician’s performance technique. These experiments typically take place in controlled laboratory conditions equipped with auralisation systems capable of reproducing the 3D acoustic conditions of a performance space in response to a performing musician in real-time. This paper compares the performance of First Order Ambisonics and Spatial Impulse Response Rendering in terms of both objective measurements and subjective listening tests. It was found that both techniques spatialised single reflections with similar accuracy when measured at the sweet spot. Informal listening tests found that the techniques produced very similar perceived results both for synthesised impulse responses and for measured stage acoustic impulse responses.

AB - Real-time auralisation systems are increasingly being used by researchers aiming to observe how particular stage and auditorium configurations affect a musician’s performance technique. These experiments typically take place in controlled laboratory conditions equipped with auralisation systems capable of reproducing the 3D acoustic conditions of a performance space in response to a performing musician in real-time. This paper compares the performance of First Order Ambisonics and Spatial Impulse Response Rendering in terms of both objective measurements and subjective listening tests. It was found that both techniques spatialised single reflections with similar accuracy when measured at the sweet spot. Informal listening tests found that the techniques produced very similar perceived results both for synthesised impulse responses and for measured stage acoustic impulse responses.

KW - ambisonics

KW - auralisation

KW - stage acoustics

KW - virtual performance

U2 - 10.14279/depositonce-23

DO - 10.14279/depositonce-23

M3 - Paper

SP - 140

EP - 146

ER -