Diffuse Field Modeling Using Physically-Inspired Decorrelation Filters and B-Format Microphones: Part II Evaluation

Rummukainen O, Romblom D, Guastavino C. Diffuse Field Modeling Using Physically-Inspired Decorrelation Filters and B-Format Microphones: Part II Evaluation. J Audio Eng Soc. 2016;64(4):194-207. doi:10.17743/jaes.2016.0002

@article{Rummukainen2016_18128,
  author = {Rummukainen, Olli and Romblom, David and Guastavino, Catherine},
  title = {{Diffuse Field Modeling Using Physically-Inspired Decorrelation Filters and B-Format Microphones: Part II Evaluation}},
  journal = {Journal of the Audio Engineering Society},
  volume = {64},
  number = {4},
  pages = {194--207},
  year = {2016},
  month = apr,
  publisher = {Audio Engineering Society},
  doi = {10.17743/jaes.2016.0002},
  url = {https://doi.org/10.17743/jaes.2016.0002}
}

TY  - JOUR
TI  - Diffuse Field Modeling Using Physically-Inspired Decorrelation Filters and B-Format Microphones: Part II Evaluation
AU  - Rummukainen, Olli
AU  - Romblom, David
AU  - Guastavino, Catherine
T2  - Journal of the Audio Engineering Society
J2  - J. Audio Eng. Soc.
VL  - 64
IS  - 4
SP  - 194
EP  - 207
PY  - 2016
DA  - 2016/04/06
DO  - 10.17743/jaes.2016.0002
UR  - https://doi.org/10.17743/jaes.2016.0002
PB  - Audio Engineering Society
LA  - en
AB  - 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.
ER  -