{"product_id":"19aes-p10-spatial-audio-part-1","title":"19AES-P10: Spatial Audio, Part 1","description":"\u003cp\u003eThursday, October 17, 1:15 pm — 4:15 pm (1E10)\u003c\/p\u003e\n\u003cp\u003eChair:\u003cbr\u003e\u003cem\u003e\u003ca href=\"http:\/\/www.aes.org\/events\/147\/presenters\/?ID=8472\"\u003eSungyoung Kim\u003c\/a\u003e\u003c\/em\u003e, Rochester Institute of Technology - Rochester, NY, USA\u003cbr\u003e\u003cbr\u003eP10-1 Use of the Magnitude Estimation Technique in Reference-Free Assessments of Spatial Audio Technology—\u003cem\u003e\u003ca href=\"http:\/\/www.aes.org\/events\/147\/presenters\/?ID=8489\"\u003eAlex Brandmeyer\u003c\/a\u003e\u003c\/em\u003e, Dolby Laboratories - San Francisco, CA, USA; \u003cem\u003e\u003ca href=\"http:\/\/www.aes.org\/events\/147\/presenters\/?ID=8497\"\u003eDan Darcy\u003c\/a\u003e\u003c\/em\u003e, Dolby Laboratories, Inc. - San Francisco, CA, USA; \u003cem\u003e\u003ca href=\"http:\/\/www.aes.org\/events\/147\/presenters\/?ID=8498\"\u003eLie Lu\u003c\/a\u003e\u003c\/em\u003e, Dolby Laboratories - San Francisco, CA, USA; \u003cem\u003e\u003ca href=\"http:\/\/www.aes.org\/events\/147\/presenters\/?ID=8499\"\u003eRichard Graff\u003c\/a\u003e\u003c\/em\u003e, Dolby Laboratories, Inc. - San Francisco, CA, USA; \u003cem\u003e\u003ca href=\"http:\/\/www.aes.org\/events\/147\/presenters\/?ID=8500\"\u003eNathan Swedlow\u003c\/a\u003e\u003c\/em\u003e, Dolby Laboratories - San Francisco, CA, USA; \u003cem\u003e\u003ca href=\"http:\/\/www.aes.org\/events\/147\/presenters\/?ID=8501\"\u003ePoppy Crum\u003c\/a\u003e\u003c\/em\u003e, Dolby Laboratories - San Francisco, CA, USA\u003cbr\u003eMagnitude estimation is a technique developed in psychophysics research in which participants numerically estimate the relative strengths of a sequence of stimuli along a relevant dimension. Traditionally, the method has been used to measure basic perceptual phenomena in different sensory modalities (e.g., \"brightness,\" \"loudness\"). We present two examples of using magnitude estimation in the domain of audio rendering for different categories of consumer electronics devices. Importantly, magnitude estimation doesn’t require a reference stimulus and can be used to assess general (\"audio quality\") and domain-specific (e.g., \"spaciousness\") attributes. Additionally, we show how this data can be used together with objective measurements of the tested systems in a model that can predict performance of systems not included in the original assessment.\u003cbr\u003e\u003cbr\u003eP10-2 Subjective Assessment of the Versatility of Three-Dimensional Near-Field Microphone Arrays for Vertical and Three-Dimensional Imaging—\u003cem\u003e\u003ca href=\"http:\/\/www.aes.org\/events\/147\/presenters\/?ID=8557\"\u003eBryan Martin\u003c\/a\u003e\u003c\/em\u003e, McGill University - Montreal, QC, Canada; Centre for Interdisciplinary Research in Music Media and Technology (CIRMMT) - Montreal, QC, Canada; \u003cem\u003e\u003ca href=\"http:\/\/www.aes.org\/events\/147\/presenters\/?ID=8558\"\u003eJack Kelly\u003c\/a\u003e\u003c\/em\u003e, McGill University - Montreal, QC, Canada; \u003cem\u003e\u003ca href=\"http:\/\/www.aes.org\/events\/147\/presenters\/?ID=8559\"\u003eBrett Leonard\u003c\/a\u003e\u003c\/em\u003e, University of Indianapolis - Indianapolis, IN, USA; The Chelsea Music Festival - New York, NY, USA\u003cbr\u003eThis investigation examines the operational size-range of audio images recorded with advanced close-capture microphone arrays for three-dimensional imaging. It employs a 3D panning tool to manipulate audio images. The 3D microphone arrays used in this study were: Coincident-XYZ, M\/S-XYZ, and Non-coincident-XYZ\/five-point. Instruments of the orchestral string, woodwind, and brass sections were recorded. The objective of the test was to determine the point of three-dimensional expansion onset, preferred imaging, and image breakdown point. Subjects were presented with a continuous dial to manipulate the three-dimensional spread of the arrays, allowing them to expand or contract the microphone signals from 0° to 90° azimuth\/elevation. The results showed that the M\/S-XYZ array is the perceptually “biggest” of the capture systems under test and displayed the fasted sense of expansion onset. The coincident and non-coincident arrays are much less agreed upon by subjects in terms of preference in particular, and also in expansion onset.\u003cbr\u003e\u003cbr\u003eP10-3 Defining Immersion: Literature Review and Implications for Research on Immersive Audiovisual Experiences—\u003cem\u003e\u003ca href=\"http:\/\/www.aes.org\/events\/147\/presenters\/?ID=8403\"\u003eSarvesh Agrawal\u003c\/a\u003e\u003c\/em\u003e, Bang \u0026amp; Olufsen a\/s - Struer, Denmark; Department of Photonics Engineering, Technical University of Denmark; \u003cem\u003e\u003ca href=\"http:\/\/www.aes.org\/events\/147\/presenters\/?ID=8404\"\u003eAdèle Simon\u003c\/a\u003e\u003c\/em\u003e, Bang \u0026amp; Olufsen a\/s - Struer, Denmark; \u003cem\u003e\u003ca href=\"http:\/\/www.aes.org\/events\/147\/presenters\/?ID=8405\"\u003eSøren Bech\u003c\/a\u003e\u003c\/em\u003e, Bang \u0026amp; Olufsen a\/s - Struer, Denmark; Aalborg University - Aalborg, Denmark; \u003cem\u003e\u003ca href=\"http:\/\/www.aes.org\/events\/147\/presenters\/?ID=8406\"\u003eKlaus Bærentsen\u003c\/a\u003e\u003c\/em\u003e, Aarhus University - Aarhus, Denmark; \u003cem\u003e\u003ca href=\"http:\/\/www.aes.org\/events\/147\/presenters\/?ID=8407\"\u003eSøren Forchhammer\u003c\/a\u003e\u003c\/em\u003e, Technical University of Denmark - Lyngby, Denmark\u003cbr\u003eThe use of the term “immersion” to describe a multitude of varying experiences in the absence of a definitional consensus has obfuscated and diluted the term. This paper presents a non-exhaustive review of previous work on immersion on the basis of which a definition of immersion is proposed: a state of deep mental involvement in which the subject may experience disassociation from the awareness of the physical world due to a shift in their attentional state. This definition is used to contrast and differentiate interchangeably used terms such as presence and envelopment from immersion. Additionally, an overview of prevailing measurement techniques, implications for research on immersive audiovisual experiences, and avenues for future work are discussed briefly.\u003cbr\u003e\u003cbr\u003eP10-4 Evaluation on the Perceptual Influence of Floor Level Loudspeakers for Immersive Audio Reproduction—\u003cem\u003e\u003ca href=\"http:\/\/www.aes.org\/events\/147\/presenters\/?ID=8459\"\u003eYannik Grewe\u003c\/a\u003e\u003c\/em\u003e, Fraunhofer IIS - Erlangen, Germany; \u003cem\u003e\u003ca href=\"http:\/\/www.aes.org\/events\/147\/presenters\/?ID=8460\"\u003eAndreas Walther\u003c\/a\u003e\u003c\/em\u003e, Fraunhofer Institute for Integrated Circuits IIS - Erlangen, Germany; \u003cem\u003e\u003ca href=\"http:\/\/www.aes.org\/events\/147\/presenters\/?ID=8461\"\u003eJulian Klapp\u003c\/a\u003e\u003c\/em\u003e, Fraunhofer IIS - Erlangen, Germany\u003cbr\u003eListening tests were conducted to evaluate the perceptual influence of adding a lower layer of loudspeakers to a setup that is commonly used for immersive audio reproduction. Three setups using horizontally arranged loudspeakers (1M, 2M, 5M), one with added height loudspeakers (5M+4H), and one with additional ?oor level loudspeakers (5M+4H+3L) were compared. Basic Audio Quality was evaluated in a sweet-spot test with explicit reference, and two preference tests (sweet-spot and off sweet-spot) were performed to evaluate the Overall Audio Quality. The stimuli, e.g., ambient recordings and sound design material, made dedicated use of the lower loudspeaker layer. The results show that reproduction comprising a lower loudspeaker layer is preferred compared to reproduction using the other loudspeaker setups included in the test.\u003cbr\u003e\u003cbr\u003eP10-5 Investigating Room-Induced Influences on Immersive Experience Part II: Effects Associated with Listener Groups and Musical Excerpts—\u003cem\u003e\u003ca href=\"http:\/\/www.aes.org\/events\/147\/presenters\/?ID=8472\"\u003eSungyoung Kim\u003c\/a\u003e\u003c\/em\u003e, Rochester Institute of Technology - Rochester, NY, USA; \u003cem\u003e\u003ca href=\"http:\/\/www.aes.org\/events\/147\/presenters\/?ID=8471\"\u003eShuichi Sakamoto\u003c\/a\u003e\u003c\/em\u003e, Tohoku University - Sendai, Japan\u003cbr\u003eThe authors previously compared four distinct multichannel playback rooms and showed that perceived spatial attributes of program material (width, depth, and envelopment) were similar across all four rooms when reproduced through a 22-channel loudspeaker array. The present study further investigated perceived auditory immersion from two additional variables: listener group and musical style. We found a three-way interaction of variables, MUSIC x (playback) ROOM x GROUP for 22-channel reproduced music. The interaction between musical material and playback room acoustics differentiates perceived auditory immersion across listener groups. However, in the 2-channel reproductions, the room and music interaction is prominent enough to flatten inter-group differences. The 22-channel reproduced sound fields may have shaped idiosyncratic cognitive bases for each listener group.\u003cbr\u003e\u003cbr\u003eP10-6 Comparison Study of Listeners’ Perception of 5.1 and Dolby Atmos—\u003cem\u003e\u003ca href=\"http:\/\/www.aes.org\/events\/147\/presenters\/?ID=8579\"\u003eTomas Oramus\u003c\/a\u003e\u003c\/em\u003e, Academy of Performing Arts in Prague - Prague, Czech Republic; \u003cem\u003e\u003ca href=\"http:\/\/www.aes.org\/events\/147\/presenters\/?ID=8580\"\u003ePetr Neubauer\u003c\/a\u003e\u003c\/em\u003e, Academy of Performing Arts in Prague - Prague, Czech Republic\u003cbr\u003eSurround sound reproduction has been a common technology in almost every theater room for several decades. In 2012 Dolby Laboratories, Inc. announced a new spatial 3D audio format – Dolby Atmos [1] that (due to its object-based rendering) pushes the possibilities of spatial reproduction and supposedly listeners' experience forward. This paper examines listeners' perception of this format in comparison with today's unwritten standard for cinema reproduction – 5.1. Two sample groups were chosen for the experiment - experienced listeners (sound designers and sound design students) and inexperienced listeners; the objective was to examine how these two groups perceive selected formats and whether there is any difference between these two groups. We aimed at five aspects – Spatial Immersion (Envelopment), Localization, Dynamics, Audio Quality, and Format Preference. The results show mostly an insignificant difference between these two groups while both of them slightly leaned towards Dolby Atmos over 5.1.\u003c\/p\u003e","brand":"Audio Engineering Society","offers":[{"title":"Default Title","offer_id":49970098766139,"sku":"19AES-P10","price":18.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0903\/3560\/9147\/files\/19AESPic_1061a12b-624c-4a3c-92f4-3bff8383db7f.jpg?v=1737908157","url":"https:\/\/mobiltape.com\/products\/19aes-p10-spatial-audio-part-1","provider":"Mobiltape","version":"1.0","type":"link"}