This paper presents recent research findings in the psychoacoustics of 3D multichannel sound recording and rendering. The addition of height channels in new reproduction formats such as Auro-3D, Dolby Atmos and 22.2, etc. enhances the perceived spatial impression in reproduction. To achieve optimal acoustic recording and signal processing for such formats, it is first important to understand th...

In this paper, we compare the impact of monophonic, stereophonic, and binaural human speech recordings in terms of their ability to induce the feeling of presence and influence the understanding of the emotional state the speakers were in. These factors are generally important in entertainment applications, for example when conversing with a non-player character or in mediated synchronous human...

In a stereophonic music production, music producers seek to impart impressions of one or more virtual spaces upon the recording with two channels of audio. Our goal is to map spaciousness in stereophonic music to objective signal attributes. This is accomplished by building predictive functions by exemplar-based learning. First, spaciousness of recorded stereophonic music is parameterized by th...

In this paper, we propose a new frequency-dependent amplitude panning method for stereophonic image enhancement applied to a sound source recorded using two closely spaced omni-directional microphones. The ability to detect the direction of such a sound source is limited due to weak spatial information, such as the inter-channel time difference (ICTD) and inter-channel level difference (ICLD). ...

The goal of this study is to retrieve useful information about the reactions of listeners to different recording techniques, namely binaural and stereo. This has been done comparing different mixes of the same song. Each mix is obtained from stereophonic and binaural recordings, or processing proximity recordings with stereo panning, binaural synthesis or a hybrid approach. The comparison is ma...

For a half century, the crucial interaction between recording engineer and monitor loudspeakers during two-channel stereophonic recording has not been resolved, leaving the engineer to cope with uncertainties. However, recent advances in defining and improving this loudspeaker-room-listener interface have finally allowed objectivity to inform and shape the engineer’s choices. The full potential...