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S. Tervo, P. Laukkanen, J. Pätynen, and T. Lokki, "Preferences of Critical Listening Environments Among Sound Engineers," J. Audio Eng. Soc., vol. 62, no. 5, pp. 300-314, (2014 May.). doi: https://doi.org/10.17743/jaes.2014.0022 S. Tervo, P. Laukkanen, J. Pätynen, and T. Lokki, "Preferences of Critical Listening Environments Among Sound Engineers," J. Audio Eng. Soc., vol. 62 Issue 5 pp. 300-314, (2014 May.). doi: https://doi.org/10.17743/jaes.2014.0022
Abstract: A study of preferred listening environments among fifteen sound engineers illustrates the universal principle that “one size does not fit everyone.” By using the measured impulse responses of nine studio control rooms that were then encoded using the Spatial Decomposition Method, each space was simulated in an anechoic chamber with a 30-channel reproduction system. Preferences depended on the occupation of the sound engineer and on the nature of the song. While mixing engineers preferred acoustically dry environments with high clarity, mastering engineers preferred more reverberant environments with less clarity. Reverberation and clarity appear to be the dominant dimensions for preference. Extensive interviews with the subjects provided more nuanced explanations of how the sound engineers experience a listening space.

@article{tervo2014preferences,
author={tervo, sakari and laukkanen, perttu and pätynen, jukka and lokki, tapio},
journal={journal of the audio engineering society},
title={preferences of critical listening environments among sound engineers},
year={2014},
volume={62},
number={5},
pages={300-314},
doi={https://doi.org/10.17743/jaes.2014.0022},
month={may},} @article{tervo2014preferences,
author={tervo, sakari and laukkanen, perttu and pätynen, jukka and lokki, tapio},
journal={journal of the audio engineering society},
title={preferences of critical listening environments among sound engineers},
year={2014},
volume={62},
number={5},
pages={300-314},
doi={https://doi.org/10.17743/jaes.2014.0022},
month={may},
abstract={a study of preferred listening environments among fifteen sound engineers illustrates the universal principle that “one size does not fit everyone.” by using the measured impulse responses of nine studio control rooms that were then encoded using the spatial decomposition method, each space was simulated in an anechoic chamber with a 30-channel reproduction system. preferences depended on the occupation of the sound engineer and on the nature of the song. while mixing engineers preferred acoustically dry environments with high clarity, mastering engineers preferred more reverberant environments with less clarity. reverberation and clarity appear to be the dominant dimensions for preference. extensive interviews with the subjects provided more nuanced explanations of how the sound engineers experience a listening space.},}

TY - paper
TI - Preferences of Critical Listening Environments Among Sound Engineers
SP - 300 EP - 314
AU - Tervo, Sakari
AU - Laukkanen, Perttu
AU - Pätynen, Jukka
AU - Lokki, Tapio
PY - 2014
JO - Journal of the Audio Engineering Society
IS - 5
VO - 62
VL - 62
Y1 - May 2014 TY - paper
TI - Preferences of Critical Listening Environments Among Sound Engineers
SP - 300 EP - 314
AU - Tervo, Sakari
AU - Laukkanen, Perttu
AU - Pätynen, Jukka
AU - Lokki, Tapio
PY - 2014
JO - Journal of the Audio Engineering Society
IS - 5
VO - 62
VL - 62
Y1 - May 2014
AB - A study of preferred listening environments among fifteen sound engineers illustrates the universal principle that “one size does not fit everyone.” By using the measured impulse responses of nine studio control rooms that were then encoded using the Spatial Decomposition Method, each space was simulated in an anechoic chamber with a 30-channel reproduction system. Preferences depended on the occupation of the sound engineer and on the nature of the song. While mixing engineers preferred acoustically dry environments with high clarity, mastering engineers preferred more reverberant environments with less clarity. Reverberation and clarity appear to be the dominant dimensions for preference. Extensive interviews with the subjects provided more nuanced explanations of how the sound engineers experience a listening space.