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To improve the limited degree of immersion of static binaural rendering for headphones, an increased measurement effort to obtain multiple-orientation binaural room impulse responses (MOBRIRs) is reasonable and enables dynamic variable-orientation rendering. We investigate the perceptual characteristics of dynamic rendering from MOBRIRs and test for the required angular resolution. Our first listening experiment shows that a resolution between 15 ∘ and 30 ∘ is sufficient to accomplish binaural rendering of high quality, regarding timbre, spatial mapping, and continuity. A more versatile alternative considers the separation of the room-dependent (RIR) from the listener-dependent head-related (HRIR) parts, and an efficient implementation thereof involves the measurement of a first-order Ambisonic RIR (ARIR) with a tetrahedral microphone. A resolution-enhanced ARIR can be obtained by an Ambisonic spatial decomposition method (ASDM) utilizing instantaneous direction of arrival estimation. ASDM permits dynamic rendering in higher-order Ambisonics, with the flexibility to render either using dummy-head or individualized HRIRs. Our comparative second listening experiment shows that 5th-order ASDM outperforms the MOBRIR rendering with resolutions coarser than 30 ∘ for all tested perceptual aspects. Both listening experiments are based on BRIRs and ARIRs measured in a studio environment.

The icosahedral loudspeaker (IKO) is able to project strongly focused sound beams into arbitrary directions. Incorporating artistic experience and psychoacoustic research, this article presents three listening experiments that provide evidence for a common, intersubjective perception of spatial sonic phenomena created by the IKO. The experiments are designed on the basis of a hierarchical model of spatiosonic phenomena that exhibit increasing complexity, ranging from a single static sonic object to combinations of multiple, partly moving objects. The results are promising and explore new compositional perspectives in spatial computer music.

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The quote from Pierre Boulez, given as an epigraph to this article, inspired French researchers to start developing technology for spherical loudspeaker arrays in the 1990s. The hope was to retain the naturalness of sound sources. Now, a few decades later, one might be able to show that even more can be done: In electroacoustic music, using the icosahedral loudspeaker array called IKO seems to enable spatial gestures that enrich alien sounds with a tangible acoustic naturalness. After a brief discussion of directivity-based composition in computer music, the first part of the article describes the technical background of the IKO, its usage in a digital audio workstation, and psychoacoustic evidence regarding the auditory objects the IKO produces. The second part deals with acoustic equations of spherical beamforming, how the IKO's loudspeakers are controlled correspondingly, how we deal with excursion limits, and the resulting beam patterns generated by the IKO.

Spatial attributes of room acoustics have been widely studied using microphone and loudspeaker arrays. However, systems that combine both arrays, referred to as multiple-input multiple-output (MIMO) systems, have only been studied to a limited degree in this context. These systems can potentially provide a powerful tool for room acoustics analysis due to the ability to simultaneously control both arrays. This paper offers a theoretical framework for the spatial analysis of enclosed sound fields using a MIMO system comprising spherical loudspeaker and microphone arrays. A system transfer function is formulated in matrix form for free-field conditions, and its properties are studied using tools from linear algebra. The system is shown to have unit-rank, regardless of the array types, and its singular vectors are related to the directions of arrival and radiation at the microphone and loudspeaker arrays, respectively. The formulation is then generalized to apply to rooms, using an image source method. In this case, the rank of the system is related to the number of significant reflections. The paper ends with simulation studies, which support the developed theory, and with an extensive reflection analysis of a room impulse response, using the platform of a MIMO system.

We present a highly efficient filter structure to create power-complementary filter pairs for phantom source widening. It either introduces frequency-dependent phase or amplitude differences in a pair of loudspeaker signals. We evaluate how the perceptual effect is influenced by off-center listening positions in a standard ±30• loudspeaker setup. The evaluation of the phantom source widening effect is based on measurements of the inter-aural cross-correlation coefficient (IACC), which is justified by its pronounced correlation to the perceived phantom source width in prior listening test results.