The Diffuse Field Model (DFM) described in Part 1 is perceptually evaluated in this article. Two experiments were conducted. In first experiment, sound recording professionals rated different treatments of DFM presented on a 20-channel array. This evaluation included the geometric modeling of reflections, strategies involving the early portion of the B-Format Room Impulse Response (RIR), and a comparison between 0th- and 1st-order RIR. Results indicate that it is necessary to model the earliest reflections and to use all four channels of the B-Format room impulse response. In the second experiment, musicians and sound recording professionals were asked to rate DFM and common microphone techniques presented on 3/2 stereophonic setup. DFM was found to be perceptually comparable to the Hamasaki Square technique. DFM approach used in this study is part of a physically-plausible virtual acoustic model for sources that were captured with close microphone placement. This model replaces the panning, delay, and reverberation that would typically be used. DFM is a perceptually viable method to create room impression that allows free placement of anechoic point sources in arbitrary multichannel loudspeaker setups.
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