Perception of Spatial Sound Phenomena Created by the Icosahedral Loudspeaker

Wendt, Florian; Sharma, Gerriet K.; Frank, Matthias; Zotter, Franz; Höldrich, Robert

doi:10.1162/comj_a_00396

Cited by 13 publications

(29 citation statements)

References 12 publications

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“…Geometry and reverberation time of the auralized rooms are based on two rooms at our institute, namely the IEM CUBE, a 10.3 m × 12 m × 4.8 m large room with T 60 = 700 ms, and the IEM Lecture Room, 7.6 m × 6.8 m × 3 m with T 60 = 570 ms. Both rooms were chosen as they are typical venues for concerts or experiments with the IKO as a variable-directivity source [17,18].…”

Section: Methodsmentioning

confidence: 99%

Auditory Distance Control Using a Variable-Directivity Loudspeaker

et al. 2017

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Abstract:The directivity of a sound source in a room influences the D/R ratio and thus the auditory distance. This study proposes various third-order beampattern pattern designs for a precise control of the D/R ratio. A comprehensive experimental study is conducted to investigate the hereby achieved effect on the auditory distance. Our first experiment auralizes the directivity variations using a virtual directional sound source in a virtual room using playback by a 24-channel loudspeaker ring. The experiment moreover shows the influence of room, source-listener distance, signal, and additional single-channel reverberation on the auditory distance. We verify the practical applicability of all the proposed beampattern pattern designs in a second experiment using a variable-directivity sound source in a real room. Predictions of experimental results are made with high accuracy, using room acoustical measures that typically predict the apparent source width.

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Section: Methodsmentioning

confidence: 99%

Auditory Distance Control Using a Variable-Directivity Loudspeaker

et al. 2017

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“…The studies in [14,15] extended the previous listening experiments towards simple time-varying beam directions, such as from the left to the right, front/back or circles.…”

Section: Moving Auditory Objectsmentioning

confidence: 78%

“…The maximum distance of auditory objects created by the IKO is strongly signaldependent. Experiments in [14] showed that the auditory distance of pink noise bursts decreased for shorter fade-in times, while the fade-out time had no influence, cf. Fig.…”

Section: Static Auditory Objectsmentioning

confidence: 99%

“…7.13. The empirical knowledge was 14 Average perceived locations for each 500 ms step during circular movement of transient sound (dark gray) and stationary noise (light gray) without and with additional reflectors, triangle indicates start and asterisk end of the trajectory applied in the artistic study in [14] about body-space relations, composing sounds that are spatialized with different static directions and simple movements. For concerts, the artistic practice evolved to set the IKO up together with reflector baffles, cf.…”

Section: Moving Auditory Objectsmentioning

confidence: 99%

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Compact Spherical Loudspeaker Arrays

Zotter

Frank

2019

Ambisonics

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This chapter introduces auditory objects that can be created by adjustabledirectivity sources in rooms. After showing basic positioning properties in distance and direction, we describe physical first-and higher-order spherical loudspeaker arrays and their control, such as the loudspeaker cubes or the icosahedral loudspeaker (IKO). Not only static auditory objects, but such traversing space by their timevarying beam forming are considered here. Signal dependency and different practical setups are discussed and briefly analyzed. This young Ambisonic technology brings new means of expression to sound reinforcement, electroacoustic or computer music. While surrounding Ambisonic loudspeaker arrays play sound from outside the listening area into the audience, compact spherical loudspeaker arrays play sound into the room from a single position. Directivity adjustable in orientation and shape can be used to steer sound beams in order to excite wall reflections in the given, acoustic environment. The directional shapes and orientations of such beams are all controlled by-guess what-Ambisonic signals. Despite the huge practical difference, both applications do not only share the spherical harmonics that lend their shapes to Ambisonic signals: The control of radiating sound beams employs nearly the same model-or measurement-based radial steering filters as those of compact higher-order Ambisonic microphones. The works of Warusfel [3], Kassakian [4], Avizienis [5], Zotter [6, 7], Pomberger [8], Pollow [9], Mattioli Pasqual [10] established the electroacoustic background technology required to describe compact spherical loudspeaker arrays built with electrodynamic transducers. The early works on auditory objects were written by Schmeder [11], Sharma, Frank, and Zotter [2, 12, 13]. And some contemporary results were found in the project "Orchestrating the Space by Icosahedral Loudspeaker" (OSIL) between 2015 and 2018 [14-19].

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“…Laitinen [21] and Wendt [22] present experiments that use compact spherical beamformer arrays to vary distance impressions by crossfading between direct and indirect, rather diffuse sound reinforcement. In previous studies [23][24][25][26], we were able to show the basic characteristics of static and dynamic beamforming in various experiments using stationary and transient sounds. In a performance situation, a quarter-circle arrangement of reflectors is often employed to support a robust and detailed spatialization throughout the audience area [27], cf.…”

Section: Introductionmentioning

confidence: 99%

Evaluation of Three Auditory-Sculptural Qualities Created by an Icosahedral Loudspeaker

2019

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The icosahedral loudspeaker (IKO) was previously established as an electroacoustic instrument enabling the musical creation and orchestration of sculptural sound phenomena in the room. This is technically achieved by manipulating the strengths of the available acoustic reflection paths by using the IKO’s acoustic beamforming capabilities. In its use, listeners perceive auditory sculptures whose characterization needs investigation. We present a proposed set of sculptural quality attributes directionality, contour, and plasticity and a series of listening experiments investigating them. The experiments employ documented beam layouts using a selected set of sounds as conditions, and they evaluate the recognizability, perceivable grading, and discernibility of the proposed sculptural qualities.

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Perception of Spatial Sound Phenomena Created by the Icosahedral Loudspeaker

Cited by 13 publications

References 12 publications

Auditory Distance Control Using a Variable-Directivity Loudspeaker

Auditory Distance Control Using a Variable-Directivity Loudspeaker

Compact Spherical Loudspeaker Arrays

Evaluation of Three Auditory-Sculptural Qualities Created by an Icosahedral Loudspeaker

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