On the Perception of Dynamic Sound Sources in Ambisonic Binaural Renderings

Marcin Gorzel; Gavin Kearney; Claire Masterson; Henry Rice; Frank Boland

On the Perception of Dynamic Sound Sources in Ambisonic Binaural Renderings

Marcin Gorzel, Gavin Kearney, Claire Masterson, Henry Rice, Frank Boland

Theatre, Film, TV and Interactive Media

Research output: Chapter in Book/Report/Conference proceeding › Conference contribution

Abstract

One of the requirements for a fully immersive gaming experience is the correct and visually coherent reproduction of location of sounding objects. Limitations of human spatial resolution in this regard have been known for decades and are commonly taken into account when designing audio reproduction systems. However, mechanisms responsible for the perception of static and dynamic sound sources are not the same and less attention has been devoted to the problem of perception of dynamically relocated sound sources, omnipresent in video games. This paper explores the human ability to follow moving sound sources when presented as First and Higher Order Ambisonic renderings over headphones and aims at finding the optimal, psychoacoustically justified parameters that could significantly reduce computational requirements of audio engines.

Original language	English
Title of host publication	Audio Engineering Society 41st International Conference
Subtitle of host publication	Audio for games
Place of Publication	London
Publication status	Published - 2 Feb 2011

Keywords

Ambisonics

Cite this

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title = "On the Perception of Dynamic Sound Sources in Ambisonic Binaural Renderings",

abstract = "One of the requirements for a fully immersive gaming experience is the correct and visually coherent reproduction of location of sounding objects. Limitations of human spatial resolution in this regard have been known for decades and are commonly taken into account when designing audio reproduction systems. However, mechanisms responsible for the perception of static and dynamic sound sources are not the same and less attention has been devoted to the problem of perception of dynamically relocated sound sources, omnipresent in video games. This paper explores the human ability to follow moving sound sources when presented as First and Higher Order Ambisonic renderings over headphones and aims at finding the optimal, psychoacoustically justified parameters that could significantly reduce computational requirements of audio engines.",

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N2 - One of the requirements for a fully immersive gaming experience is the correct and visually coherent reproduction of location of sounding objects. Limitations of human spatial resolution in this regard have been known for decades and are commonly taken into account when designing audio reproduction systems. However, mechanisms responsible for the perception of static and dynamic sound sources are not the same and less attention has been devoted to the problem of perception of dynamically relocated sound sources, omnipresent in video games. This paper explores the human ability to follow moving sound sources when presented as First and Higher Order Ambisonic renderings over headphones and aims at finding the optimal, psychoacoustically justified parameters that could significantly reduce computational requirements of audio engines.

AB - One of the requirements for a fully immersive gaming experience is the correct and visually coherent reproduction of location of sounding objects. Limitations of human spatial resolution in this regard have been known for decades and are commonly taken into account when designing audio reproduction systems. However, mechanisms responsible for the perception of static and dynamic sound sources are not the same and less attention has been devoted to the problem of perception of dynamically relocated sound sources, omnipresent in video games. This paper explores the human ability to follow moving sound sources when presented as First and Higher Order Ambisonic renderings over headphones and aims at finding the optimal, psychoacoustically justified parameters that could significantly reduce computational requirements of audio engines.

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