Comparing immersive sound capture techniques optimized for acoustic music recording through binaural reproduction

Howie W, Martin D, Kamekawa T, Kelly J, King R. Comparing immersive sound capture techniques optimized for acoustic music recording through binaural reproduction. In: AES Convention 150. Audio Engineering Society; 2021. Paper 10455. Available from: https://aes.org/publications/elibrary-page/?id=21048

@inproceedings{Howie2021_21048,
  author = {Howie, Will and Martin, Dennis and Kamekawa, Toru and Kelly, Jack and King, Richard},
  title = {{Comparing immersive sound capture techniques optimized for acoustic music recording through binaural reproduction}},
  booktitle = {AES Convention 150},
  note = {Paper 10455},
  year = {2021},
  month = may,
  publisher = {Audio Engineering Society},
  url = {https://aes.org/publications/elibrary-page/?id=21048}
}

TY  - CPAPER
TI  - Comparing immersive sound capture techniques optimized for acoustic music recording through binaural reproduction
AU  - Howie, Will
AU  - Martin, Dennis
AU  - Kamekawa, Toru
AU  - Kelly, Jack
AU  - King, Richard
T2  - AES Convention 150
M1  - Paper 10455
PY  - 2021
DA  - 2021/05/06
UR  - https://aes.org/publications/elibrary-page/?id=21048
PB  - Audio Engineering Society
LA  - en
AB  - A study was undertaken to compare three immersive sound capture techniques optimized for acoustic music recording, within the context of binaural audio reproduction. 3D audio stimuli derived from 9-channel (4+5+0) recordings of a solo piano were binaurally rendered and presented to listeners over headphones. Subjects compared these stimuli in terms of several salient perceptual auditory attributes. Results of the double-blind listening test found no significant differences between two of the sound capture techniques, “spaced” and “near-coincident,” for the perceptual auditory attributes “envelopment,” “naturalness of sound scene,” and “naturalness of timbre.” The spaced technique, however, was shown to create a larger virtual image of the sound source than the near-coincident technique. The coincident technique was found to create an immersive sound scene that occupies a different perceptual space from the other two techniques, delivering less envelopment and naturalness.
ER  -