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J. Francombe, T. Brookes, and R. Mason, "Elicitation of the Differences between Real and Reproduced Audio," Paper 9307, (2015 May.). doi: J. Francombe, T. Brookes, and R. Mason, "Elicitation of the Differences between Real and Reproduced Audio," Paper 9307, (2015 May.). doi:
Abstract: To improve the experience of listening to reproduced audio, it is beneficial to determine the differences between listening to a live performance and a recording. An experiment was performed in which three live performances (a jazz duet, a jazz-rock quintet, and a brass quintet) were captured and simultaneously replayed over a nine-channel with-height surround sound system. Experienced and inexperienced listeners moved freely between the live performance and the reproduction and described the difference in listening experience. In subsequent group discussions, the experienced listeners produced twenty-nine categories using some terms that are not commonly found in the current spatial audio literature. The inexperienced listeners produced five categories that overlapped with the experienced group terms but that were not as detailed.

@article{francombe2015elicitation,
author={francombe, jon and brookes, tim and mason, russell},
journal={journal of the audio engineering society},
title={elicitation of the differences between real and reproduced audio},
year={2015},
volume={},
number={},
pages={},
doi={},
month={may},} @article{francombe2015elicitation,
author={francombe, jon and brookes, tim and mason, russell},
journal={journal of the audio engineering society},
title={elicitation of the differences between real and reproduced audio},
year={2015},
volume={},
number={},
pages={},
doi={},
month={may},
abstract={to improve the experience of listening to reproduced audio, it is beneficial to determine the differences between listening to a live performance and a recording. an experiment was performed in which three live performances (a jazz duet, a jazz-rock quintet, and a brass quintet) were captured and simultaneously replayed over a nine-channel with-height surround sound system. experienced and inexperienced listeners moved freely between the live performance and the reproduction and described the difference in listening experience. in subsequent group discussions, the experienced listeners produced twenty-nine categories using some terms that are not commonly found in the current spatial audio literature. the inexperienced listeners produced five categories that overlapped with the experienced group terms but that were not as detailed.},}

TY - paper
TI - Elicitation of the Differences between Real and Reproduced Audio
SP - EP -
AU - Francombe, Jon
AU - Brookes, Tim
AU - Mason, Russell
PY - 2015
JO - Journal of the Audio Engineering Society
IS -
VO -
VL -
Y1 - May 2015 TY - paper
TI - Elicitation of the Differences between Real and Reproduced Audio
SP - EP -
AU - Francombe, Jon
AU - Brookes, Tim
AU - Mason, Russell
PY - 2015
JO - Journal of the Audio Engineering Society
IS -
VO -
VL -
Y1 - May 2015
AB - To improve the experience of listening to reproduced audio, it is beneficial to determine the differences between listening to a live performance and a recording. An experiment was performed in which three live performances (a jazz duet, a jazz-rock quintet, and a brass quintet) were captured and simultaneously replayed over a nine-channel with-height surround sound system. Experienced and inexperienced listeners moved freely between the live performance and the reproduction and described the difference in listening experience. In subsequent group discussions, the experienced listeners produced twenty-nine categories using some terms that are not commonly found in the current spatial audio literature. The inexperienced listeners produced five categories that overlapped with the experienced group terms but that were not as detailed.