A study was undertaken to compare four different 9-channel three-dimensional acoustic music recording techniques, all optimized for capturing a solo piano. The four techniques range in design philosophy: spaced, near-coincident, and coincident. Results of a subjective listening test showed the two spaced techniques as being equally highly rated for the subjective attributes “naturalness of sound scene”, “naturalness of timbre”, and “sound source image size”. Listeners rated the coincident technique significantly lower than all other techniques under investigation for all perceptual attributes. Binaural recordings of the stimuli were analyzed using several different objective measures, some of which were found to be good predictors for the perceptual attributes “envelopment” and “sound source image size”.
Howie, Will; Martin, Denis; Benson, David H.; Kelly, Jack; King, Richard
Affiliations: McGill University, Montreal, Quebec, Canada; Centre for Interdisciplinary Research in Music Media and Technology (CIRMMT), Montreal, Quebec, Canada(See document for exact affiliation information.)
AES Conference: 2018 AES International Conference on Spatial Reproduction - Aesthetics and Science (July 2018)
Paper Number: P10-1
Publication Date: July 30, 2018
Session Subject: 3D audio; classical music recording; audio perception; sound quality prediction; immersive audio
No AES members have commented on this paper yet.
If you are not yet an AES member and have something important to say about this paper then we urge you to join the AES today and make your voice heard. You can join online today by clicking here.