A Spatial Audio Quality Inventory (SAQI)

Lindau, Alexander; Erbes, Vera; Lepa, Steffen; Maempel, Hans-Joachim; Brinkmann, Fabian; Weinzierl, Stefan

doi:10.3813/aaa.918778

Cited by 92 publications

(80 citation statements)

References 11 publications

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“…In a next step, qualitative differences between binaural simulation and real sound field were assessed using the Spatial Audio Quality Inventory (SAQI 34 ) as implemented in the WhisPER toolbox. 35 Again, participants could directly compare the two test conditions and take their time at will before giving an answer.…”

Section: Test Proceduresmentioning

confidence: 99%

See 1 more Smart Citation

On the authenticity of individual dynamic binaural synthesis

Brinkmann¹,

Lindau²,

Weinzierl³

2017

The Journal of the Acoustical Society of America

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A simulation that is perceptually indistinguishable from the corresponding real sound field could be termed authentic. Using binaural technology, such a simulation would theoretically be achieved by reconstructing the sound pressure at a listener's ears. However, inevitable errors in the measurement, rendering, and reproduction introduce audible degradations, as it has been demonstrated in previous studies for anechoic environments and static binaural simulations (fixed head orientation). The current study investigated the authenticity of individual dynamic binaural simulations for three different acoustic environments (anechoic, dry, wet) using a highly sensitive listening test design. The results show that about half of the participants failed to reliably detect any differences for a speech stimulus, whereas all participants were able to do so for pulsed pink noise. Higher detection rates were observed in the anechoic condition, compared to the reverberant spaces, while the source position had no significant effect. It is concluded that the authenticity mainly depends on how comprehensive the spectral cues are provided by the audio content, and the amount of reverberation, whereas the source position plays a minor role. This is confirmed by a broad qualitative evaluation, suggesting that remaining differences mainly affect the tone color rather than the spatial, temporal or dynamical qualities.

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Section: Test Proceduresmentioning

confidence: 99%

“…Please note that the scale labels (y labels) were omitted for better readability. They can be found in Table I in Lindau et al, 34 whereby a rating of À1 refers to the first, and a rating of 1 to the second label. A rating of 0 indicates no perceptual difference between simulation and real sound field.…”

Section: Qualitative Evaluationmentioning

confidence: 99%

On the authenticity of individual dynamic binaural synthesis

Brinkmann¹,

Lindau²,

Weinzierl³

2017

The Journal of the Acoustical Society of America

Self Cite

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“…This involves the development of quality metrics similar to PEAQ (PEAQ, 1999) and extensions towards 3D audio, and psychoacoustic models of plausibility and corresponding psychometric tests vocabulary and test methods (Lindau, Weinzierl, 2012;Lindau et al, 2014).…”

Section: Discussionmentioning

confidence: 99%

Virtual Acoustics

Vorländer¹

2015

Archives of Acoustics

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Virtual Reality (VR) systems are used in engineering, architecture, design and in applications of biomedical research. The component of acoustics in such VR systems enables the creation of audio-visual stimuli for applications in room acoustics, building acoustics, automotive acoustics, environmental noise control, machinery noise control, and hearing research. The basis is an appropriate acoustic simulation and auralization technique together with signal processing tools. Auralization is based on time-domain modelling of the components of sound source characterization, sound propagation, and on spatial audio technology. Whether the virtual environment is considered sufficiently accurate or not, depends on many perceptual factors, and on the pre-conditioning and immersion of the user in the virtual environment. In this paper the processing steps for creation of Virtual Acoustic Environments and the achievable degree of realism are briefly reviewed. Applications are discussed in examples of room acoustics, archeological acoustics, aircraft noise, and audiology.

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“…There have been numerous studies that have aimed to elicit perceptual attributes for reproduced sound [20][21][22][23][24][25][26][27][28][29]. Generally, the outcome of these studies is a non-orthogonal set of attributes that can be used to rate perceptual differences between different reproduction conditions (loudspeaker layouts, rendering methods, etc.).…”

Section: Perception Of Spatial Audiomentioning

confidence: 99%

Elicitation of Expert Knowledge to Inform Object-Based Audio Rendering to Different Systems

Woodcock¹,

Davies²,

Melchior³

et al. 2018

J. Audio Eng. Soc.

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Object-based audio presents the opportunity to optimize audio reproduction for different listening scenarios. Vector base amplitude panning (VBAP) is typically used to render objectbased scenes. Optimizing this process based on knowledge of the perception and practices of experts could result in significant improvements to the end user's listening experience. An experiment was conducted to investigate how content creators perceive changes in the perceptual attributes of the same content rendered to systems with different numbers of channels, and to determine what they would do differently to standard VBAP and matrix based downmixes to minimize these changes. Text mining and clustering of the content creators' responses revealed six general mix processes: the spatial spread of individual objects, EQ and processing, reverberation, position, bass, and level. Logistic regression models show the relationships between the mix processes, perceived changes in perceptual attributes, and the rendering method/speaker layout. The relative frequency of use for the different mix processes was found to differ between categories of audio objects suggesting that any downmix rules should be object category specific. These results give insight into how object-based audio can be used to improve listener experience and provide the first template for doing this across different reproduction systems.

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A Spatial Audio Quality Inventory (SAQI)

Cited by 92 publications

References 11 publications

On the authenticity of individual dynamic binaural synthesis

On the authenticity of individual dynamic binaural synthesis

Virtual Acoustics

Elicitation of Expert Knowledge to Inform Object-Based Audio Rendering to Different Systems

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