Assessment of the Impact of Spatial Audiovisual Coherence on Source Unmasking

Palacino J, Paquier M, Koehl V, Changenet F, Corteel E. Assessment of the Impact of Spatial Audiovisual Coherence on Source Unmasking. In: AES Convention 140. Audio Engineering Society; 2016. Paper 9516. Available from: https://aes.org/publications/elibrary-page/?id=18215

@inproceedings{Palacino2016_18215,
  author = {Palacino, Julian and Paquier, Mathieu and Koehl, Vincent and Changenet, Frédéric and Corteel, Etienne},
  title = {{Assessment of the Impact of Spatial Audiovisual Coherence on Source Unmasking}},
  booktitle = {AES Convention 140},
  note = {Paper 9516},
  year = {2016},
  month = may,
  publisher = {Audio Engineering Society},
  url = {https://aes.org/publications/elibrary-page/?id=18215}
}

TY  - CPAPER
TI  - Assessment of the Impact of Spatial Audiovisual Coherence on Source Unmasking
AU  - Palacino, Julian
AU  - Paquier, Mathieu
AU  - Koehl, Vincent
AU  - Changenet, Frédéric
AU  - Corteel, Etienne
T2  - AES Convention 140
M1  - Paper 9516
PY  - 2016
DA  - 2016/05/06
UR  - https://aes.org/publications/elibrary-page/?id=18215
PB  - Audio Engineering Society
LA  - en
AB  - The present study aims at evaluating the contribution of spatial audiovisual coherence for sound source unmasking for live music mixing. Sound engineers working with WFS technologies for live sound mixing have reported that their mixing methods have radically changed. Using conventional mixing methods, the audio spectrum is balanced in order to get each instrument intelligible inside the stereo mix. In contrast, when using WFS technologies, the source intelligibility can be achieved thanks to spatial audiovisual coherence and/or sound spatialization (and without using spectral modifications). The respective effects of spatial audiovisual coherence and sound spatialization should be perceptually evaluated. As a first step, the ability of naive and expert subjects to identify a spatialized mix was evaluated by a discrimination task. For this purpose, live performances (rock, jazz, and classic) were played back to subjects with and without stereoscopic video display and VBAP or WFS audio rendering. Two sound engineers realized the audio mixing for three pieces of music and for both audio technologies in the same room where the test have been carried out.
ER  -