Binaural Recording Technology: A Historical Review and Possible Future Developments

Paul, Stephan

doi:10.3813/aaa.918208

Cited by 45 publications

(27 citation statements)

References 39 publications

(64 reference statements)

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“…Recordings with dummy heads -i.e., a manikin that is equipped with microphones at the locations of the eardrums -have been considered very useful ever since the first explorations at Bell Laboratories and Philipps in the 1930s 8 . This concept directly avoids both main drawbacks of room-related systems: the limitations of the recording methods as well as the response of the reproduction room.…”

Section: Introductionmentioning

confidence: 99%

Auralization of acoustic spaces based on spherical microphone array recordings

Ahrens

Hohnerlein

Andersson

2017

The Journal of the Acoustical Society of America

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Microphone arrays can capture the physical structure of a sound field. They are therefore potentially suited to capture and preserve the sound of acoustic spaces within given physical limitations that are determined by the construction of the array. Especially spherical microphone arrays have received considerable attention in this context. Superposed onto the limitations of the microphone array are the limitations caused by the auralization system. We present results from user studies on the perceptual differences between spherical microphone array recordings that are auralized with headphones as well as with a circular 56-channel loudspeaker array and headphone auralization based on dummy head measurements of the same spaces. Head-tracking was applied in all cases in which headphones were used.

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Section: Introductionmentioning

confidence: 99%

Auralization of acoustic spaces based on spherical microphone array recordings

Ahrens

Hohnerlein

Andersson

2017

The Journal of the Acoustical Society of America

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“…Although the musicians played in separate rooms in order to record their individual sounds, they heard themselves and the other player over headphones in a simulated virtual-acoustics environment, which allowed the control over acoustical factors (see Design). The simulation was achieved through binaural reproduction (Paul, 2009) using real-time convolution of the instruments' source signals with individualized binaural room impulse responses (RIRs). Each musician's performance was captured through an omnidirectional microphone .…”

Section: Stimulimentioning

confidence: 99%

Blending Between Bassoon and Horn Players

2017

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Achieving a blended timbre between two instruments is a common aim of orchestration. It relates to the auditory fusion of simultaneous sounds and can be linked to several acoustic factors (e.g., temporal synchrony, harmonicity, spectral relationships). Previous research has left unanswered if and how musicians control these factors during performance to achieve blend. For instance, timbral adjustments could be oriented towards the leading performer. In order to study such adjustments, pairs of one bassoon and one horn player participated in a performance experiment, which involved several musical and acoustical factors. Performances were evaluated through acoustic measures and behavioral ratings, investigating differences across performer roles as leaders or followers, unison or non-unison intervals, and earlier or later segments of performances. In addition, the acoustical influence of performance room and communication impairment were also investigated. Role assignments affected spectral adjustments in that musicians acting as followers adjusted toward a “darker” timbre (i.e., realized by reducing the frequencies of the main formant or spectral centroid). Notably, these adjustments occurred together with slight reductions in sound level, although this was more apparent for horn than bassoon players. Furthermore, coordination seemed more critical in unison performances and also improved over the course of a performance. These findings compare to similar dependencies found concerning how performers coordinate their timing and suggest that performer roles also determine the nature of adjustments necessary to achieve the common aim of a blended timbre.

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“…For that purpose, knowledge is required on which cues are the relevant cues for sound localisation and which are not. The method involved in creating VAS originated in the 1950ies when systematic experiments using artificial head manikins were undertaken (reviewed by Paul, 2009). However, it is only the computational power developed within the last two decades that allows for elaborate calculations and manipulations of virtual auditory stimuli.…”

Section: The Virtual Space Techniquementioning

confidence: 99%