A measuring instrument for the auditory perception of rooms: The Room Acoustical Quality Inventory (RAQI)

Chamber music hall acoustics: Measurements and perceptual differences

This study investigates the room acoustics of seven chamber music halls of various modern and historical architecture by means of objective room acoustic measures and a subjective listening experiment. The acoustic measurements were performed with heavy cloth covering the audience areas to simulate occupancy in the halls. A loudspeaker quartet was used for auralizations, which were reproduced in a surrounding loudspeaker array. The perceptual differences between the halls were evaluated in terms of envelopment, warmth, clarity, proximity, and preference by using a paired comparison paradigm. The subjective evaluations were conducted in two different laboratories and latent class analysis was used to study the agreement between laboratories and the emergence of different listener groups in the ratings of each attribute. Concerning preference, the emergence of two groups found in the study of large symphony halls was confirmed, where one group prefers rich, enveloping sound and one group prefers high clarity. The perceptual ratings were not clearly associated with a specific hall shape, but rather depended on the distribution of early and late sound energy. Thus, the distinction between rectangular and non-rectangular floor plans previously found for large symphony halls was not observed with these smaller halls.

Wrapped into sound: Development of the Immersive Music Experience Inventory (IMEI)

Although virtual reality, video entertainment, and computer games are dependent on the three-dimensional reproduction of sound (including front, rear, and height channels), it remains unclear whether 3D-audio formats actually intensify the emotional listening experience. There is currently no valid inventory for the objective measurement of immersive listening experiences resulting from audio playback formats with increasing degrees of immersion (from mono to stereo, 5.1, and 3D). The development of the Immersive Music Experience Inventory (IMEI) could close this gap. An initial item list (N = 25) was derived from studies in virtual reality and spatial audio, supplemented by researcher-developed items and items extracted from historical descriptions. Psychometric evaluation was conducted by an online study (N = 222 valid cases). The N = 222 Participants (female = 112, mean age = 38.6) were recruited via mailing lists (n = 34) and via a panel provider (n = 188). Based on controlled headphone playback, participants listened to four songs/pieces, each in the three formats of mono, stereo, and binaural 3D audio. The latent construct “immersive listening experience” was determined by probabilistic test theory (item response theory, IRT) and by means of the many-facet Rasch measurement (MFRM). As a result, the specified MFRM model showed good model fit (62.69% of explained variance). The final one-dimensional inventory consists of 10 items and will be made available in English and German.

Favorable reverberation time in concert halls revisited for piano and violin solos

A favorable reverberation time in concert halls is a fundamental issue for room acoustic design, and various recommendations have been suggested so far. Nevertheless, one must track back more than half a century when it comes to systematic subjective experiments on this topic. In this study, binaural room impulse responses (RIRs) measured with a dodecahedral loudspeaker in concert halls, where orchestra concerts are regularly held, are used. First, signal processing is applied to RIR to equalize the dodecahedral loudspeaker response as flat and broad as possible within the audible frequency range. Then, anechoic recordings of music by piano and violin, excerpts from cadenzas, are convoluted with the equalized RIR. Next, subjective experiments are conducted to seek favorable reverberation times. Reverberance and clarity were judged by 16 music experts. From this research, the favorable reverberation times RT_M (octave band average for 500 and 1000 Hz) for piano and violin solos are from 1.2 to 2.0 s and 1.8 to 2.4 s, respectively. However, the clarity index C_80,3 (octave band average for 500, 1000, and 2000 Hz) needs to range from 0 to 2.4 dB and -1.6 to 0.7 dB, respectively, to meet the optimum reverberance for piano and violin.

Assessing room acoustic listening expertise

Musicians and music professionals are often considered to be expert listeners for listening tests on room acoustics. However, these tests often target acoustic parameters other than those typically relevant in music such as pitch, rhythm, amplitude, or timbre. To assess the expertise in perceiving and understanding room acoustical phenomena, a listening test battery was constructed to measure the perceptual sensitivity and cognitive abilities in the identification of rooms with different reverberation times and different spectral envelopes. Performance in these tests was related to data from the Goldsmiths Musical Sophistication Index, self-reported previous experience in music recording and acoustics, and academic knowledge on acoustics. The data from 102 participants show that sensory and cognitive abilities are both correlated significantly with musical training, analytic listening skills, recording experience, and academic knowledge on acoustics, whereas general interest in and engagement with music do not show any significant correlations. The regression models, using only significantly correlated criteria of musicality and professional expertise, explain only small to moderate amounts (11%-28%) of the variance in the "room acoustic listening expertise" across the different tasks of the battery. Thus, the results suggest that the traditional criteria for selecting expert listeners in room acoustics are only weak predictors of their actual performances.

Brightness perception for musical instrument sounds: Relation to timbre dissimilarity and source-cause categories

Timbre dissimilarity of orchestral sounds is well-known to be multidimensional, with attack time and spectral centroid representing its two most robust acoustical correlates. The centroid dimension is traditionally considered as reflecting timbral brightness. However, the question of whether multiple continuous acoustical and/or categorical cues influence brightness perception has not been addressed comprehensively. A triangulation approach was used to examine the dimensionality of timbral brightness, its robustness across different psychoacoustical contexts, and relation to perception of the sounds' source-cause. Listeners compared 14 acoustic instrument sounds in three distinct tasks that collected general dissimilarity, brightness dissimilarity, and direct multi-stimulus brightness ratings. Results confirmed that brightness is a robust unitary auditory dimension, with direct ratings recovering the centroid dimension of general dissimilarity. When a two-dimensional space of brightness dissimilarity was considered, its second dimension correlated with the attack-time dimension of general dissimilarity, which was interpreted as reflecting a potential infiltration of the latter into brightness dissimilarity. Dissimilarity data were further modeled using partial least-squares regression with audio descriptors as predictors. Adding predictors derived from instrument family and the type of resonator and excitation did not improve the model fit, indicating that brightness perception is underpinned primarily by acoustical rather than source-cause cues.

Recognizing individual concert halls is difficult when listening to the acoustics with different musical passages

This article presents a listening experiment in which the listeners' task was to recognize the acoustics of a seat in a specific concert hall. Stimuli included two short passages extracted from a Beethoven symphony and samples of a solo violin auralized to four real concert halls. In each trial, listeners were presented with a reference and four alternatives with one correct match. In the "same" condition, the reference and the alternatives contained the same source sound. In the "different" condition, the source sounds were different musical passages but always of the same sound type, that is, symphonic music or solo violin. Results show that on average listeners could recognize the halls when the task was performed with the same source sound but had difficulty when listening to different sounds. The patterns of erroneous responses exhibited confusion between particular hall pairs and corresponded well to the values and just-noticeable-differences of the traditional objective room acoustic parameters. While the type of music is previously well known to influence the perception of concert hall acoustics, the present results indicate that even minor changes in the source sound content may have a strong impact on the ability to recognize the acoustics of individual halls.