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Traditional sound localization studies are often performed in anechoic chambers and in complete darkness. In our daily life, however, we are exposed to rich auditory scenes with multiple sound sources and complementary visual information. Although it is understood that the presence of maskers hinders auditory spatial awareness, it is not known whether competing sound sources can provide spatial information that helps in localizing a target stimulus. In this study, we explore the effect of presenting controlled auditory scenes with different amounts of visual and spatial cues during a sound localization task. A novel, gamified localization task is also presented. Preliminary results suggest that subjects who are exposed to audio-visual anchors show faster improvements than those who are not.
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Immersive sandboxes for audio-visual content creation in Virtual Reality (VR) are becoming widely available, thanks to the VR distribution platforms, such as the Steam VR. Some of these sandboxes are specially build to host Virtual Reality Musical Instruments (VRMIs), but they usually contain only basic components, such as oscillators, sample-based instruments, or simplistic step-sequencers. In this paper, after describing MuX (a VRMI-hosting sandbox) and its basic components, we present new elements developed for the environment. We focus on the lumped and distributed physically-inspired models for sound synthesis. A simple interface was developed to control the physical models with gestures, expanding the interaction possibilities within the sandbox. A preliminary evaluation shows that, as the number and complexity of the components increase, it becomes important to provide to the users ready-made machines instead of allowing them to build everything from scratch.
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Music production has always been influenced by and evolved alongside the newest technological standards and listener demands. As the general apparatus for music consumption moves towards headphones, and with the advent of 3D cinema sound and virtual reality (VR) technologies, questions on how to translate musical standards into a three-dimensional listening environment are in debate. This paper discusses the 3D mix aesthetics of Ambisonics beyond 6th order taking a classical Turkish music production as a musical case. An ensemble recording was made in the recording studio of Istanbul Technical University (˙ITü) M˙IAM. The channels of that session were mixed in the Immersive Audio Lab of Hamburg University of Applied Sciences (HAW), exploring generic ways of spatial music production. The results were rated by means of a survey grading immersive audio parameters.
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We present a statistical analysis result of ear-related anthropometric data measured from 162 subjects and its subsets divided by gender and race. To analyze the data efficiently, we have developed a measurement technique that is semi-automatic, and therefore, can scale to larger data sets. The results show that, ear dimensions of Asian subjects’ ears tend to be larger than those of non-Asian subjects. Statistical tests confirmed the significant difference of the ear dimensions between different gender and racial categories. These findings suggest the importance of taking into account the subject’s demographic information such as gender or race, for generalized or individualized HRTF data based on ear shape modeling for immersive audio applications.
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Reactive virtual acoustic environments (VAEs) that respond to any user-generated sound with an appropriate acoustic room response enable immersive audio applications with enhanced sonic interaction between the user and the VAE. This paper presents a reactive VAE that has two clear advantages in comparison to other systems introduced so far: it generally works with any type of sound source, and the dynamic directivity of the source is adequately considered in the binaural reproduction. The paper describes the implementation of the reactive VAE and completes the technical evaluation of the overall system focusing on the recently added software components. Regarding the use of the system in research, the study briefly discusses challenges of conducting psychoacoustic experiments with such a reactive VAE.
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Multichannel and immersive audio technologies are usually tied to specific loudspeaker layouts. Any loudspeaker misplacement relative to these predefined positions might degrade the overall sound quality. To avoid this situation, some Next Generation Audio codecs offer the possibility to compensate for angular misplacement of loudspeakers. The experiment presented in this paper investigates the perceptual impact of loudspeakers angular misplacement in a 5.0 multichannel setup, with and without the angular compensation implemented in the MPEG-H 3D Audio decoder. Three audio formats are tested: Channel, Scene, and Object-Based contents. The experiment is conducted on two test sites and reveals that the benefit of the angular compensation essentially depends on the sound stimulus. No significant effect of the audio formats tested was found.
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A novel method for upmixing mono recordings into stereo is presented. This approach uses a source separation strategy to extract a note events from within the original mono mixture, which are clustered into individual sources by exploiting a user-interactive interface. The isolated sources can then be panned in different parts of the stereo image to create a wider spatial experience in the final version. In this work, quality of the stereo sound is evaluated by conducting a listening test, and results are compared with a similar process based on a different separation strategy. The proposed system is shown to be able to deliver stereo versions with higher audio quality and naturalness, suitable for music containing harmonic instruments or singing voices.
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Within audio-tactile playback systems, the induced vibration is often calibrated subjectively with no objective frame of reference. Using a broadband excitation signal, the sound induced vibration characteristics of the torso were identified, including the magnitude response, amplitude conversion efficiency and subjective perceptual thresholds. The effect of additional factors such as Body Mass Index were considered. The human torso was shown to act as a Helmholtz cavity, while an increase in BMI was shown to reduce the peak vibration amplitude. The body was further shown to behave as a linear transducer of sound into vibration, leading to the production of a novel conversion table. Perceptual tests identified a frequency dependent threshold of 94-107dBZ required to induce a perceivable whole-body vibration.
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This paper introduces PlugSonic Soundscape and PlugSonic Sample, two web-based applications for the creation and experience of binaural interactive audio narratives and soundscapes. The apps are being developed as part of the PLUGGY EU project (Pluggable Social Platform for Heritage Awareness and Participation). The apps audio processing is based on the Web Audio API and the 3D Tune-In toolkit. Within the paper, we report on the implementation, evaluation and future developments. We believe that the idea of a web-based application for 3D sonic narratives represents a novel contribution to the cultural heritage, digital storytelling and 3D audio technology domains.
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The paper describes a method for obtaining spherical sets of head-related transfer functions (HRTFs) based on a small number of measurements in reverberant environments. For spatial upsampling, we apply HRTF interpolation in the spherical harmonics (SH) domain. However, the number of measured directions limits the maximal accessible SH order, resulting in order-limitation errors and a restricted spatial resolution. Thus, we propose a method which reduces these errors by a directional equalization based on a spherical head model prior to the SH transform. To enhance the valid range of a subsequent low-frequency extension towards higher frequencies, we perform the extension on the equalized dataset. Finally, we apply windowing to the impulse responses to eliminate room reflections from the measured HRTF set. The analysis shows that the method for for spatial upsampling influences the resulting HRTF sets more than degradations due to room reflections or due to distortions of the loudspeakers.
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