3D Impulse Response Convolution with Multichannel Direct Sound: Assessing Perceptual Equivalency between Room- and Source- Impression for Music Production

Kelly J, Woszczyk W, King R. 3D Impulse Response Convolution with Multichannel Direct Sound: Assessing Perceptual Equivalency between Room- and Source- Impression for Music Production. In: AES Convention 151. Audio Engineering Society; 2021. Paper 10532. Available from: https://aes.org/publications/elibrary-page/?id=21496

@inproceedings{Kelly2021_21496,
  author = {Kelly, Jack and Woszczyk, Wieslaw and King, Richard},
  title = {{3D Impulse Response Convolution with Multichannel Direct Sound: Assessing Perceptual Equivalency between Room- and Source- Impression for Music Production}},
  booktitle = {AES Convention 151},
  note = {Paper 10532},
  year = {2021},
  month = oct,
  publisher = {Audio Engineering Society},
  url = {https://aes.org/publications/elibrary-page/?id=21496}
}

TY  - CPAPER
TI  - 3D Impulse Response Convolution with Multichannel Direct Sound: Assessing Perceptual Equivalency between Room- and Source- Impression for Music Production
AU  - Kelly, Jack
AU  - Woszczyk, Wieslaw
AU  - King, Richard
T2  - AES Convention 151
M1  - Paper 10532
PY  - 2021
DA  - 2021/10/06
UR  - https://aes.org/publications/elibrary-page/?id=21496
PB  - Audio Engineering Society
LA  - en
AB  - A method for representing the three-dimensional radiation patterns of instruments/performers within artificial reverberation using multichannel direct sound files convolved with channel-based spatial room impulse responses (SRIRs) is presented. Two reverb conditions are studied in a controlled listening test: a) all SRIR channel positions are convolved with a single monophonic direct sound file, and b) each SRIR channel position is convolved with a unique direct sound file taken from a microphone array surrounding the performer. Participants were asked to adjust the level of each reverberation condition (relative to a fixed direct sound stream) to three perceptual thresholds relating to source- and room- impression. Results of separate three-way within-subject ANOVAs and post-hoc analysis show significant interactions between instrument / room type, and instrument / reverb condition on each of the three thresholds. Most notably, reverb condition b) required less level than condition a) to yield perceptual equivalency between source- and room- impression, suggesting that the inclusion of multichannel direct sound in SRIR convolution may increase the salience of room impression in the immersive reproduction of acoustic music.
ER  -