Tue, 10 May, 15:00 - 15:45 UTC
Much published work on spatial sound reproduction suggests the goal is for precise sound-field control [1]. In contrast, some perceptual studies and commercial designs demonstrate that spatial error, reverberation, or deliberate decorrelation are preferred, especially with rich captured audio scenes [2,3]. This contradiction continues on paper and in system design, whilst, unfortunately, it is rare that spatial arrays are available and used for exploring and experimenting with comparative rendering techniques. Using multiple pop-up, onsite 16 channel 1.5m arrays, we will be providing a direct experience of the comparative experience of sound fields with both precision and structured decoherence. Content will range from synthetic through to high-order captured audio scenes, engaging the community of researchers, new and old, in a discussion of the 'sweet spot' and the overall goal and outcomes from sound-field reproduction work.
The demonstration will comprise a set of audio presentations suitable for a 1-minute experience. For those off-site, a dummy head recording with typical listener mobility will be made available, with the possibility of a live binaural feed during the event. ICASSP is an ideal academic assemblage to engage an enthusiastic academic audience at scale and stimulate useful discourse, potential collaborations, and help frame and steer future researchers. As a display of a low-cost system for perceptual spatial sound work, all work, code, audio samples, and system designs will be accessible for replication elsewhere.
Dating back to Helmholtz, both the math of theoretical wave fields and the broad space of perception as an "inductive conclusion" [4] are known to be important for volumetric sound reproduction. This proposal will bring these closely together with contemporary technology, in a compact and interactive demonstration. By first-hand experience, and through the reactions of others, this will most surely be entertaining and engaging.
1. Ahrens J (2012), Analytic Methods of Sound Field Synthesis. Springer, Berlin. 2. Tucker A (2013), Perception of Soundfields: The Dirty Little Secret. 52nd AES Conference, Guildford. 3. Rumsey F (2014), Spatial Audio: Reconstructing Reality or Creating Illusion, Presentation, AES Section, Chicago 4. Warren R.M (1968), Helmholtz on Perception, John Wiley & Sons (citing Helmholtz 1896)