During ampli?ed live music performance, the positions of sound sources rarely coincide with the positions of their related visual sources. Yet, several studies have suggested that audiovisual spatial coherence could improve the experience of the audience. In the present experiment, sound engineers had to produce two different mixes for several sequences extracted from concert videos: one freestyle mix where they could spatialize the sound sources at their pleasure, and one spatially-constrained mix, where the sound sources had to be reproduced at the same azimuth as the original positions of the related visual sources. A subjective evaluation revealed that the spatially-constrained mixes were preferred when the image was displayed, although the freestyle mixes were preferred when the image was not displayed.

Authors: Hendrickx, Etienne; Palacino, Julian; Koehl, Vincent; Changenet, Frédéric; Corteel, Etienne; Paquier, Mathieu
Affiliations: Université de Brest, Université Bretagne Loire, Brest, France; Feichter Audio, Lannion, France; Radio France, Paris, France; L-Acoustics, Marcoussis, France(See document for exact affiliation information.)
AES Conference: 2018 AES International Conference on Spatial Reproduction - Aesthetics and Science (July 2018)
Paper Number: P11-2
Publication Date: July 30, 2018 Import into BibTeX
Session Subject: Audiovisual Spatial Coherence; Live Music; Wave Field Synthesis
Permalink: https://www.aes.org/e-lib/browse.cfm?elib=19636

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