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3D audio spatializers for Virtual Reality (VR) can use the acoustic properties of the surfaces of a visualised game space to calculate a matching reverb. However, this approach could lead to reverbs that impair the tasks performed in such a space, such as listening to speech-based audio. Sound designers would then have to alter the room's acoustic properties independently of its visualisation to improve speech intelligibility, causing audio-visual incongruency. As user expectation of simulated room acoustics regarding speech intelligibility in VR has not been studied, this study asked participants to rate the congruency of reverbs and their visualisations in 6-DoF VR while listening to speech-based audio. The participants compared unaltered, matching reverbs with sound-designed, mismatching reverbs. The latter feature improved D50s and reduced RT60s at the cost of lower audio-visual congruency. Results suggest participants preferred improved reverbs only when the unaltered reverbs had comparatively low D50s or excessive ringing. Otherwise, too dry or too reverberant reverbs were disliked. The range of expected RT60s depended on the surface visualisation. Differences in timbre between the reverbs may not affect preferences as strongly as shorter RT60s. Therefore, sound designers can intervene and prioritise speech intelligibility over audio-visual congruency in acoustically challenging game spaces. [ABSTRACT FROM AUTHOR]

Introduction: Previous research has shown that podcasts are most frequently consumed using mobile listening devices across a wide variety of environmental, situational, and social contexts. To date, no studies have investigated how an individual’s environmental context might influence their attentional engagement in podcast listening experiences. Improving understanding of the contexts in which episodes of listening take place, and how they might aect listener engagement, could be highly valuable to researchers and producers working in the fields of object-based and personalized media. Methods: An online questionnaire on listening habits and behaviors was distributed to a sample of 264 podcast listeners. An exploratory factor analysis was run to identify factors of environmental context that influence attentional engagement in podcast listening experiences. Five aspects of podcast listening engagement were also defined and measured across the sample. Results: The exploratory factor analysis revealed five factors of environmental context labeled as: outdoors, indoors & at home, evenings, soundscape & at work, and exercise. The aspects of podcast listening engagement provided a comprehensive quantitative account of contemporary podcast listening experiences. Discussion: The results presented support the hypothesis that elements of a listener’s environmental context can influence their attentional engagement in podcast listening experiences. The soundscape & at work factor suggests that some listeners actively choose to consume podcasts to mask disturbing stimuli in their surrounding soundscape. Further analysis suggested that the proposed factors of environmental context were positively correlated with the measured aspects of podcast listening engagement. The results are highly pertinent to the fields of podcast studies, mobile listening experiences, and personalized media, and provide a basis for researchers seeking to explore how other forms of listening context might influence attentional engagement. [ABSTRACT FROM AUTHOR]

Room-scale virtual reality (VR) affordance in movement and interactivity causes new challenges in creating virtual acoustic environments for VR experiences. Such environments are typically constructed from virtual interactive objects that are accompanied by an Ambisonic bed and an off-screen ("invisible") music soundtrack, with the Ambisonic bed, music, and virtual acoustics describing the aural features of an area. This methodology can become problematic in room-scale VR as the player cannot approach or interact with such background sounds, contradicting the player's motion aurally and limiting interactivity. Written from a sound designer's perspective, the paper addresses these issues by proposing a musically inclusive novel methodology that reimagines an acoustic environment predominately using objects that are governed by multimodal rule-based systems and spatialized in six degrees of freedom using 3D binaural audio exclusively while minimizing the use of Ambisonic beds and non-diegetic music. This methodology is implemented using off-the-shelf, creator-oriented tools and methods and is evaluated through the development of a standalone, narrative, prototype room-scale VR experience. The experience's target platform is a mobile, untethered VR system based on head-mounted displays, inside-out tracking, head-mounted loudspeakers or headphones, and hand-held controllers. The authors apply their methodology to the generation of ambiences based on sound-based music, sound effects, and virtual acoustics. The proposed methodology benefits the interactivity and spatial behavior of virtual acoustic environments but may be constrained by platform and project limitations. [ABSTRACT FROM AUTHOR]

Although the difference between the fast Fourier transforms of two audio signals is often used as a basic measure of predicting perceived colouration, these signal measures do not provide information on how relevant the results are from a perceptual point of view. This paper presents a perceptually motivated loudness calculation for predicting the colouration between binaural signals which incorporates equal loudness frequency contouring, relative subjective loudness weighting, cochlea frequency modelling, and an iterative normalisation of input signals. The validation compares the presented model to three other colouration calculations in two ways: using test signals designed to evaluate specific elements of the model, and against the results of a listening test on degraded binaural audio signals. Results demonstrate the presented model is appropriate for predicting the colouration between binaural signals. [ABSTRACT FROM AUTHOR]

The increasing popularity of Ambisonics as a spatial audio format for streaming services poses new challenges to existing audio coding techniques. Immersive audio delivered to mobile devices requires an efficient bitrate compression that does not affect the spatial quality of the content. Good localizability of virtual sound sources is one of the key elements that must be preserved. This study was conducted to investigate the localization precision of virtual sound source presentations within Ambisonic scenes encoded with Opus low-bitrate compression at different bitrates and Ambisonic orders (1st, 3rd, and 5th). The test stimuli were reproduced over a 50-channel spherical loudspeaker configuration and binaurally using individually measured and generic Head-Related Transfer Functions (HRTFs). Participants were asked to adjust the position of a virtual acoustic pointer to match the position of virtual sound source within the bitrate-compressed Ambisonic scene. Results show that auditory localization in low-bitrate compressed Ambisonic scenes is not significantly affected by codec parameters. The key factors influencing localization are the rendering method and Ambisonic order truncation. This suggests that efficient perceptual coding might be successfully used for mobile spatial audio delivery. [ABSTRACT FROM AUTHOR]

The spatial high-frequency extrapolation method extrapolates low-frequency band-limited spatial room impulse responses (SRIRs) to higher frequencies based on a frame-by-frame time/frequency analysis that determines directional reflected components within the SRIR. Such extrapolation can be used to extend finite-difference time domain (FDTD) wave propagation simulations, limited to only relatively low frequencies, to the full audio band. For this bandwidth extrapolation, a boundary absorption weighting function is proposed based on a parametric approximation of the energy decay relief of the SRIR used as the input to the algorithm. Results using examples of both measured and FDTD simulated impulse responses demonstrate that this approach can be applied successfully to a range of acoustic spaces. Objective measures show a close approximation to reverberation time and acceptable early decay time values. Results are verified through accompanying auralizations that demonstrate the plausibility of this approach when compared to the original reference case. [ABSTRACT FROM AUTHOR]

Ambisonics has enjoyed a recent resurgence in popularity due to virtual reality applications. Low order Ambisonic reproduction is inherently inaccurate at high frequencies, which causes poor timbre and height localisation. Diffuse-Field Equalisation (DFE), the theory of removing direction-independent frequency response, is applied to binaural (over headphones) Ambisonic rendering to address high-frequency reproduction. DFE of Ambisonics is evaluated by comparing binaural Ambisonic rendering to direct convolution via head-related impulse responses (HRIRs) in three ways: spectral difference, predicted sagittal plane localisation and perceptual listening tests on timbre. Results show DFE successfully improves frequency reproduction of binaural Ambisonic rendering for the majority of sound source locations, as well as the limitations of the technique, and set the basis for further research in the field. [ABSTRACT FROM AUTHOR]

Synthesizing the room impulse response (RIR) of an arbitrary enclosure may be performed using a number of alternative acoustic modeling methods, each with their own particular advantages and limitations. This article is concerned with obtaining a hybrid RIR derived from both wave and geometric-acoustics based methods, optimized for use across different regions of time or frequency. Consideration is given to how such RIRs can be matched across modeling domains in terms of both amplitude and boundary behavior and the approach is verified using a number of standardised case studies. [ABSTRACT FROM AUTHOR]

3D time-domain acoustic modeling techniques have the potential to produce more accurate simulation of the vocal tract than previously implemented 1D or 2D solutions, although the variability of human voice renders it a problematic benchmark for validation of its resynthesis. This study uses acoustic measurement of acrylic cylindrical vocal tract models derived from X-Ray data to assess the validity of comparable 3D digital waveguide mesh simulations. It is found that for more simple structures the 3D digital waveguide mesh is able to reproduce the acoustic behavior up to 10 kHz with only slight errors in resonant frequencies. As the simulated structures become more geometrically complex, this shifting becomes more severe. [ABSTRACT FROM PUBLISHER]

A single room impulse response can reveal information about the acoustics of a given space in both objective, and, when used for auralization, subjective terms. However, for additional spatial information, or more accurate and perceptually convincing auralization, multiple impulse responses are needed. Higher order Ambisonics is a robust means of capturing the spatial qualities of an acoustic space over multiple channels for decoding and rendering over many possible speaker layouts. A method for obtaining Nth-order Ambisonic impulse responses from a room acoustic model, based on lower orders using differential microphone techniques is presented. This is tested using a third-order encoding of a 2-D finite difference time domain room acoustic simulation based on multiple circular arrays of receivers. Accurate channel directional profiles are obtained and results are verified in a series of listening tests comparing the localization of a sound source placed within the given simulation to the same source encoded directly. This generic encoding scheme can be applied to any room acoustic simulation technique where it is possible to obtain impulse responses across multiple receiver positions. Although the proposed method encompasses horizontal encoding only, it can also be applied directly in 3-D simulations where height information is not required in the final auralization. [ABSTRACT FROM PUBLISHER]

Many spectral analysis and modification techniques require the separation of sinusoidal from nonsinusoidal signal components of a Fourier spectrum. Techniques exist for the estimation of the parameters of nonstationary sinusoids, and for discriminating these from other components, within a single Fourier frame. We present a comparative study of five methods for sinusoidal discrimination, considering their effectiveness and their computational cost. [ABSTRACT FROM AUTHOR]

Time domain articulatory vocal tract modeling in one-dimensional (1-D) is well established. Previous studies into two-dimensional (2-D) simulation of wave propagation in the vocal tract have shown it to present accurate static vowel synthesis. However, little has been done to demonstrate how such a model might accommodate the dynamic tract shape changes necessary in modeling speech. Two methods of applying the area function to the 2-D digital waveguide mesh vocal tract model are presented here. First, a method based on mapping the cross-sectional area onto the number of waveguides across the mesh, termed a widthwise mapping approach is detailed. Discontinuity problems associated with the dynamic manipulation of the model are highlighted. Second, a new method is examined that uses a static-shaped rectangular mesh with the area function translated into an impedance map which is then applied to each waveguide. Two approaches for constructing such a map are demonstrated; one using a linear impedance increase to model a constriction to the tract and another using a raised cosine function. Recommendations are made towards the use of the cosine method as it allows for a wider central propagational channel. It is also shown that this impedance mapping approach allows for stable dynamic shape changes and also permits a reduction in sampling frequency leading to real-time interaction with the model. [ABSTRACT FROM AUTHOR]

Digital waveguide physical modeling is often used as an efficient representation of acoustical resonators such as the human vocal tract. Building on the basic one-dimensional (1-D) Kelly--Lochbaum tract model, various speech synthesis techniques demonstrate improvements to the wave scattering mechanisms in order to better approximate wave propagation in the complex vocal system. Some of these techniques are discussed in this paper, with particular reference to an alternative approach in the form of a two-dimensional waveguide mesh model. Emphasis is placed on its ability to produce vowel spectra similar to that which would be present in natural speech, and how it improves upon the 1-D model. Tract area function is accommodated as model width, rather than translated into acoustic impedance, and as such offers extra control as an additional bounding limit to the model. Results show that the two-dimensional (2-D) model introduces approximately linear control over formant bandwidths leading to attainable realistic values across a range of vowels. Similarly, the 2-D model allows for application of theoretical reflection values within the tract, which when applied to the 1-D model result in small formant bandwidths, and, hence, unnatural sounding synthesized vowels. [ABSTRACT FROM AUTHOR]