Spatial Audio, Auralisation and Virtual Acoustics - Research Presentations
Wednesday 27 November 2019: 6pm for a 6.30 Start
Ove Arup & Partners
Humber room, Admiral House
78 East Street
- Tomasz Rudski, University of York: Listening Test Environment for Spatial Audio and Virtual Acoustics Research
Perceptual evaluation of spatial audio plays a significant role in psychoacoustic research as well as in the development of immersive audio recording techniques, rendering algorithms and low-bitrate compression schemes. The use of standardized subjective listening test paradigms can also aid the assessment of simulated and measured room acoustics and soundscapes. Investigated attributes might include: speech intelligibility, sound clarity, spaciousness and noise pollution. SALTE (Spatial Audio Listening Test Environment) is a listening test software which consists of a dedicated audio rendering engine and virtual reality interface for conducting spatial audio listening experiments. The renderer can be used for controlled playback of Ambisonic scenes over headphones using head tracking as well as custom Head Related Transfer Functions. The VR interface allows for running listening tests in a controlled virtual environment. The SALTE framework can be freely obtained from the University of York AudioLab's GitHub page: https://github.com/AudioLabYork/ .
- Bogdan Bacila, University of Huddersfield: Subjective elicitation of listener-perspective-dependent spatial attributes in a reverberant room, using the repertory grid technique
Spatial impression is a widely researched topic in concert hall acoustics and spatial audio display. In order to provide the listener with plausible spatial impression in virtual and augmented reality applications, especially in the 6 Degrees of Freedom (6DOF) context, it is first important to understand how humans perceive various acoustical cues from different listening perspectives in a real space. This study presents a fundamental subjective study conducted on the perception of spatial impression for multiple listener positions and orientations. An in-situ elicitation test was carried out using the repertory grid technique in a reverberant concert hall. Cluster analysis revealed a number of conventional spatial attributes such as source width, environmental width and envelopment. However, reverb directionality and echo perception were also found to be salient spatial properties associated with changes in the listener’s position and head orientation.
- Yang Fu, University of York: Auralisation of Traffic Flow using Procedural Audio Methods
Auralisation is a technique that creates audible files based on numerical data. Compared to using objective metrics to describe acoustic phenomena, auralisation can bring audible experience which is more straightforward and immersive to the public. Although widely used for acoustic consultations for indoor environments such as room acoustics, auralisation has not been applied much for outdoor environments because of the complexity of acoustic problems outdoors. In this work, we are trying to extend the application of auralisation into outdoor environment, specifically for traffic noise evaluation in urban scenes. We proposed a framework for auralisation of traffic flow based on single vehicles pass-by noise, following the idea of procedural audio in which engine sound and road-tyre noise are synthesized in real time based on engineering models. As there are no recordings involved in procedural audio methods, the perceived plausibility of the synthetic sounds might be an issue. We are doing listening tests to evaluate the plausibility of the auralised traffic flow using the proposed methods, and comparing them to the counterparts created by some recording-based synthesizers. The results show that the perceived plausibility of procedural sounds are more close to recording-based sounds when traffic scenes get more complex (e.g. multiple vehicles pass-by).
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