AES Paris 2016
Paper Session P13

P13 - Perception: Part 2

Monday, June 6, 08:45 — 11:15 (Room 353)

Thomas Görne, Hamburg University of Applied Sciences - Hamburg, Germany

P13-1 Exploiting Envelope Fluctuations to Enhance Binaural PerceptionG. Christopher Stecker, Vanderbilt University School of Medicine - Nashville, TN, USA
A review of recent and classic studies of binaural perception leads to the conclusion that envelope fluctuations, such as sound onsets, play a critical role in the sampling of spatial information from auditory stimuli. Specifically, listeners’ perception of sound location corresponds with the binaural cues (interaural time and level differences) that coincide with brief increases in sound amplitude, and disregards binaural cues occurring at other times. This discrete, envelope-triggered sampling of binaural information can be exploited to enhance spatial perception of synthesized sound mixtures, or to facilitate the localization of mixture components. Also a poster—see session P19-9
Convention Paper 9553 (Purchase now)

P13-2 Two Alternative Minimum-Phase Filters Tested PerceptuallyRobert Mores, University of Applied Sciences Hamburg - Hamburg, Germany; Ralf Hendrych, University of Applied Sciences Hamburg - Hamburg, Germany
A widely used method for designing minimum phase filters is based on the real cepstrum (Oppenheim, 1975). An alternative method is proposed for symmetric FIR filters that flips the filter’s “left side” around the central coefficient to the “right side” using a sinus ramp of perceptually irrelevant duration. The resulting phase is nearly minimal and nearly linear. The method is applied to impulse responses. Perception tests use original sound samples (A), samples processed by real-cepstrum-based minimum phase filters (B), and samples processed by the proposed method (C). The tests reveal that for impulsive sound samples the perceived dissimilarity between A and C is smaller than the dissimilarity between A and B suggesting that the alternative method has some potential for sound processing. Also a poster—see session P19-1]
Convention Paper 9554 (Purchase now)

P13-3 Subjective Listening Tests for Preferred Room Response in Cinemas - Part 2: Preference Test ResultsLinda A. Gedemer, University of Salford - Salford, UK; Harman International - Northridge, CA, USA
SMPTE and ISO have specified near identical in-room target response curves for cinemas and dubbing stages. However, to this author's knowledge, to date these standards have never been scientifically tested and validated with modern technology and measurement techniques. For this reason it is still not known if the current SMPTE and ISO in-room target response curves are optimal or if better solutions exist. Using a Binaural Room Scanning system for room capture and simulation, various seating positions in three cinemas were reproduced through headphones for the purpose of conducting controlled listening experiments. This system used a binaural mannequin equipped with a computer-controlled rotating head to accurately capture binaural impulse responses of the sound system and the listening space which are then reproduced via calibrated headphones equipped with a head-tracker. In this way controlled listening evaluations can be made among different cinema audio systems tuned to different in-room target responses. Results from a MUSHRA-style preference test are presented. (Also a poster—see session P19-8)
Convention Paper 9555 (Purchase now)

P13-4 Binaural Spatialization over a Bone Conduction Headset: Minimum Discernable Angular DifferenceAmit Barde, University of Canterbury - Christchurch, Canterbury, New Zealand; William S. Helton, University of Canterbury - Christchurch, Canterbury, New Zealand; Gun Lee, University of Canterbury - Christchurch, Canterbury, New Zealand; Mark Billinghurst, University of South Australia - Mawson Lakes, South Australia, Australia
Binaural spatialization in the horizontal plane over a bone conduction headset (BCH) was investigated using inexpensive and commercially available hardware and software components. The aim of this study was to determine the minimum discernable angular difference between two successively spatialized sound sources. Localization accuracy and externalization was also explored. Statistically significant results were observed for angular separations of 10° and above. Localization accuracy was found to be significantly poorer than that seen for previous loudspeaker and headphone based reproduction. Localization errors between 30° – 35° were observed for stimuli presented in front, back, and sides and 92% of the participants reported externalization. The study demonstrates that an acceptable level of spatial resolution and externalization is achievable using an inexpensive bone conduction headset and software components.
Convention Paper 9556 (Purchase now)

P13-5 The Harmonic Centroid as a Predictor of String Instrument Timbral ClarityKirsten Hermes, University of Surrey - Guildford, Surrey, UK; Tim Brookes, University of Surrey - Guildford, Surrey, UK; Chris Hummersone, University of Surrey - Guildford, Surrey, UK
Spectrum is an important factor in determining timbral clarity. An experiment where listeners rate the changes in timbral clarity resulting from spectral equalization (EQ) can provide insight into the relationship between EQ and the clarity of string instruments. Overall, higher frequencies contribute to clarity more positively than lower ones, but the relationship is program-item-dependent. Fundamental frequency and spectral slope both appear to be important. Change in harmonic centroid (or dimensionless spectral centroid) correlates well with change in clarity, more so than octave band boosted/cut, harmonic number boosted/cut, or other variations on the spectral centroid. [Also a poster—see session P19-7]
Convention Paper 9557 (Purchase now)

Return to Paper Sessions

EXHIBITION HOURS June 5th   10:00 – 18:00 June 6th   09:00 – 18:00 June 7th   09:00 – 16:00
REGISTRATION DESK June 4th   08:00 – 18:00 June 5th   08:00 – 18:00 June 6th   08:00 – 18:00 June 7th   08:00 – 16:00
TECHNICAL PROGRAM June 4th   09:00 – 18:30 June 5th   08:30 – 18:00 June 6th   08:30 – 18:00 June 7th   08:45 – 16:00
AES - Audio Engineering Society