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H. Lee, and C. Gribben, "Effect of Vertical Microphone Layer Spacing for a 3D Microphone Array," J. Audio Eng. Soc., vol. 62, no. 12, pp. 870-884, (2014 December.). doi: https://doi.org/10.17743/jaes.2014.0045 H. Lee, and C. Gribben, "Effect of Vertical Microphone Layer Spacing for a 3D Microphone Array," J. Audio Eng. Soc., vol. 62 Issue 12 pp. 870-884, (2014 December.). doi: https://doi.org/10.17743/jaes.2014.0045
Abstract: Subjective listening tests were conducted to investigate how the spacing between main (lower) and height (upper) microphone layers in a 3D main microphone array affects perceived spatial impression and overall preference. It was generally found that layer spacing of 0.5 m, 1 m, and 1.5 m did not produce significant differences in either perceived spatial impression or preference. The 0-m layer had slightly higher ratings than the spaced layers in both spatial impression and preference, depending on the type of source. The four configurations were compared with trumpet, acoustic guitar, percussion quartet, and string quartet using a 9-channel loudspeaker setup. It is suggested that the perceived results were mainly associated with vertical interchannel crosstalk in the signals of each height layer and the magnitude and pattern of spectral change at the listener’s ear caused by each layer. Informal comments suggested that the main preference attributes were tonal quality, as well as spatial quality.

@article{lee2015effect,
author={lee, hyunkook and gribben, christopher},
journal={journal of the audio engineering society},
title={effect of vertical microphone layer spacing for a 3d microphone array},
year={2015},
volume={62},
number={12},
pages={870-884},
doi={https://doi.org/10.17743/jaes.2014.0045},
month={december},} @article{lee2015effect,
author={lee, hyunkook and gribben, christopher},
journal={journal of the audio engineering society},
title={effect of vertical microphone layer spacing for a 3d microphone array},
year={2015},
volume={62},
number={12},
pages={870-884},
doi={https://doi.org/10.17743/jaes.2014.0045},
month={december},
abstract={subjective listening tests were conducted to investigate how the spacing between main (lower) and height (upper) microphone layers in a 3d main microphone array affects perceived spatial impression and overall preference. it was generally found that layer spacing of 0.5 m, 1 m, and 1.5 m did not produce significant differences in either perceived spatial impression or preference. the 0-m layer had slightly higher ratings than the spaced layers in both spatial impression and preference, depending on the type of source. the four configurations were compared with trumpet, acoustic guitar, percussion quartet, and string quartet using a 9-channel loudspeaker setup. it is suggested that the perceived results were mainly associated with vertical interchannel crosstalk in the signals of each height layer and the magnitude and pattern of spectral change at the listener’s ear caused by each layer. informal comments suggested that the main preference attributes were tonal quality, as well as spatial quality.},}

TY - paper
TI - Effect of Vertical Microphone Layer Spacing for a 3D Microphone Array
SP - 870 EP - 884
AU - Lee, Hyunkook
AU - Gribben, Christopher
PY - 2015
JO - Journal of the Audio Engineering Society
IS - 12
VO - 62
VL - 62
Y1 - December 2014 TY - paper
TI - Effect of Vertical Microphone Layer Spacing for a 3D Microphone Array
SP - 870 EP - 884
AU - Lee, Hyunkook
AU - Gribben, Christopher
PY - 2015
JO - Journal of the Audio Engineering Society
IS - 12
VO - 62
VL - 62
Y1 - December 2014
AB - Subjective listening tests were conducted to investigate how the spacing between main (lower) and height (upper) microphone layers in a 3D main microphone array affects perceived spatial impression and overall preference. It was generally found that layer spacing of 0.5 m, 1 m, and 1.5 m did not produce significant differences in either perceived spatial impression or preference. The 0-m layer had slightly higher ratings than the spaced layers in both spatial impression and preference, depending on the type of source. The four configurations were compared with trumpet, acoustic guitar, percussion quartet, and string quartet using a 9-channel loudspeaker setup. It is suggested that the perceived results were mainly associated with vertical interchannel crosstalk in the signals of each height layer and the magnitude and pattern of spectral change at the listener’s ear caused by each layer. Informal comments suggested that the main preference attributes were tonal quality, as well as spatial quality.