Auralization of virtual concerts: A subjective evaluation comparing binaural and ambisonic rendering

Abstract

Auralization renderings have reached a sufficient level of maturity that simulated auralizations can be comparable to measured ones. These auralizations can be rendered over a variety of sound systems, potentially combined with a visual model through VR interfaces. This study presents a perceptual evaluation of auralizations of a small ensemble virtual concert rendering, comparing a tracked binaural rendering to 2nd order Ambisonic rendering over a 32 loudspeaker array. The geometrical acoustic model of several actual performance spaces were created and then calibrated using in situ omni-directional room impulse response measurements. The performance stimuli consisted of 3 extracts of jazz anechoic recordings comprising trios and quartet ensembles, augmented by three-dimensional visual point-clouds of the musicians playing on stage. Participants of the listening test included a range of listening expertise level (acousticians, architects, students). Several room acoustical parameters were evaluated between rendering systems, seating positions, and rooms.