Perception of Spatial Sound

Wenzel, Elizabeth M.; Begault, Durand R.; Godfroy-Cooper, Martine

doi:10.4324/9781315707525-2

Cited by 11 publications

(4 citation statements)

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“…/ How realistically did the sound sources interact with you as you navigated throughout the virtual world? (Barfield and Hendrix, 1996) Nonrealistic to realistic Immersion Psychological sensation of being surrounded by specific sound sources (Wenzel et al, 2017). / To what extent did you feel completely surrounded by and enveloped by the virtual environment?…”

Section: Spatial Auditory Evaluation Methodsmentioning

confidence: 99%

“…Still, they both agree that a greater sense of immersion will produce higher levels of presence. Acoustically, immersion refers to the psychological sensation of being surrounded by specific sound sources (Wenzel et al, 2017). Given the definition of immersion as being surrounded, it is easier to convey this sensation via audio than with vision because audio operates omnidirectional all around the listener beyond the field of view without exploratory head movements (Begault et al,1998).…”

Section: Immersion and Presencementioning

confidence: 99%

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Can I trust my ears in VR? Head-related transfer functions and valuation methods with descriptive attributes in virtual reality

Jenny

Reuter²

2021

IJVR

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In this article, we present the current state of the art in binaural audio with the focus on head-related transfer functions (HRTFs) and valuation methods of virtual acoustics with descriptive attributes. This combination provides a methodology, which delivers the basis for research studies in virtual reality (VR) on individual and non-individual head-related transfer functions. Based on the largely explored localization perception of static audio signals, this review offers an overview of the directional hearing during head and sound source movement and multimodality in audiovisual virtual environments. Perceptual quality characteristics provide evaluation methods from which future HRTF VR experiments and virtual environments studies on binaural acoustics could benefit.

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Section: Spatial Auditory Evaluation Methodsmentioning

confidence: 99%

Section: Immersion and Presencementioning

confidence: 99%

Can I trust my ears in VR? Head-related transfer functions and valuation methods with descriptive attributes in virtual reality

Jenny

Reuter²

2021

IJVR

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“…It is acknowledged that each approach to spatialisation and each distinct playback system and/or context will to an extent determine the immersive effect of source recordings in the listening encounter. For example, the playback of an XY stereo field recording through a stereo loudspeaker system will present the listener with an externalised environment, emanating from the front of the listener (assuming they face the loudspeakers), while the same recording reproduced via headphones may be characterised by a sense of ‘in-the-head locatedness’ (IHL), with sounds appearing to ‘exist entirely within or at the edge of the head, instead of externalised outside the listener’ (Wenzel, Begault and Godfroy-Cooper, 2018: 28). Stereo loudspeaker reproduction will also involve a degree of ‘crosstalk’ between left and right signals, while headphone reproduction will not.…”

Section: First-person Field Recordingmentioning

confidence: 99%

Hearing How It Feels to Listen: Perception, embodiment and first-person field recording

Findlay-Walsh

2019

Org. Sound

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This article explores recent theories of listening, perception and embodiment, including those by Mark Grimshaw and Tom Garner, Salomé Voegelin, and Eric Clarke, as well as consequences and possibilities arising from them in relation to field recording and soundscape art practice. These theories of listening propose auditory perception as an embodied process of engaging with and understanding lived environment. Such phenomenological listening is understood as a relational engagement with the world in motion, as movement and change, which grants access to the listener’s emerging presence, agency and place in the world. Such ideas on listening have developed concurrently with new approaches to making and presenting field recordings, with a focus on developing phonographic methods for capturing and presenting the recordist’s embodied auditory perspective. In the present study, ‘first-person’ field recording is defined as both method and culturally significant material whereby a single recordist carries, wears or remains present with a microphone, consciously and reflexively documenting their personal listening encounters. This article examines the practice of first-person field recording and considers its specific applications in a range of sound art and soundscape art examples, including work by Gabi Losoncy, Graham Lambkin, Christopher Delaurenti and Klaysstarr (the author). In the examination of these methods and works, first-person field recording is considered as a means of capturing the proximate auditory space of the recordist as a mediated ‘point of ear’, which may be embodied, inhabited, and listened through by a subsequent listener. The article concludes with a brief summary of the discussion before some closing thoughts on recording, listening and the field, on field recording as practice-research and on potential connections with other fields in which the production of virtual environments is a key focus.

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“…Immersive audio describes the "psychological sensation of being surrounded by specific sound sources as well as ambient sound" (Wenzel et al, 2018, p. 5). Binauralizations over headphones and multichannel technologies over loudspeakers can be used to elicit this sensation (Wenzel et al, 2018). Both approaches have disadvantages that may reduce the spatial impression.…”

Section: Introductionmentioning

confidence: 99%

Wrapped into sound: Development of the Immersive Music Experience Inventory (IMEI)

et al. 2022

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Although virtual reality, video entertainment, and computer games are dependent on the three-dimensional reproduction of sound (including front, rear, and height channels), it remains unclear whether 3D-audio formats actually intensify the emotional listening experience. There is currently no valid inventory for the objective measurement of immersive listening experiences resulting from audio playback formats with increasing degrees of immersion (from mono to stereo, 5.1, and 3D). The development of the Immersive Music Experience Inventory (IMEI) could close this gap. An initial item list (N = 25) was derived from studies in virtual reality and spatial audio, supplemented by researcher-developed items and items extracted from historical descriptions. Psychometric evaluation was conducted by an online study (N = 222 valid cases). The N = 222 Participants (female = 112, mean age = 38.6) were recruited via mailing lists (n = 34) and via a panel provider (n = 188). Based on controlled headphone playback, participants listened to four songs/pieces, each in the three formats of mono, stereo, and binaural 3D audio. The latent construct "immersive listening experience" was determined by probabilistic test theory (item response theory, IRT) and by means of the many-facet Rasch measurement (MFRM). As a result, the specified MFRM model showed good model fit (62.69% of explained variance). The final one-dimensional inventory consists of 10 items and will be made available in English and German.

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Perception of Spatial Sound

Cited by 11 publications

References 0 publications

Can I trust my ears in VR? Head-related transfer functions and valuation methods with descriptive attributes in virtual reality

Can I trust my ears in VR? Head-related transfer functions and valuation methods with descriptive attributes in virtual reality

Hearing How It Feels to Listen: Perception, embodiment and first-person field recording

Wrapped into sound: Development of the Immersive Music Experience Inventory (IMEI)

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