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Room acoustic simulations using the finite-difference time-domain method on a wide frequency range can be computationally expensive and typically contain numerical dispersion. Numerical dispersion can be audible and, thus, constitutes an artifact in auralizations. There is a need to measure perceptual thresholds for numerical dispersion to achieve an optimal balance between computational complexity and audibility of dispersion. This work measures the perceptual detection thresholds for numerical dispersion in binaural auralizations of two acoustically different rooms. Numerical dispersion is incorporated into measured binaural room impulse responses (BRIRs) by the means of filters that represent the dispersion that plane waves experience, which propagate in the simulation in the direction of the worst-case dispersion error. The results show that the perceptual detection threshold is generally lower for the most reverberant room and greatly depends on the source signal independently of the room in which the threshold is measured. It is the most noticeable in the pure BRIRs, i.e., with an impulse as source signal, and almost unnoticeable with speech. The results also show that there was no statistical evidence that the perceptual thresholds for the conditions where numerical dispersion was present or absent in the direct path of the BRIRs be different.

The area of sound field synthesis has significantly advanced in the past decade, facilitated by the development of high-quality sound-field capturing and re-synthesis systems. Spherical microphone arrays are among the most recently developed systems for sound field capturing, enabling processing and analysis of three-dimensional sound fields in the spherical harmonics domain. In spite of these developments, a clear relation between sound fields recorded by spherical microphone arrays and their perception with a re-synthesis system has not yet been established, although some relation to scalar measures of spatial perception was recently presented. This paper presents an experimental study of spatial sound perception with the use of a spherical microphone array for sound recording and headphone-based binaural sound synthesis. Sound field analysis and processing is performed in the spherical harmonics domain with the use of head-related transfer functions and simulated enclosed sound fields. The effect of several factors, such as spherical harmonics order, frequency bandwidth, and spatial sampling, are investigated by applying the repertory grid technique to the results of the experiment, forming a clearer relation between sound-field capture with a spherical microphone array and its perception using binaural synthesis regarding space, frequency, and additional artifacts. The experimental study clearly shows that a source will be perceived more spatially sharp and more externalized when represented by a binaural stimuli reconstructed with a higher spherical harmonics order. This effect is apparent from low spherical harmonics orders. Spatial aliasing, as a result of sound field capturing with a finite number of microphones, introduces unpleasant artifacts which increased with the degree of aliasing error.

An approach to the synthesis of moving virtual sound sources with complex radiation properties in wave field synthesis is presented. The approach exploits the fact that any stationary sound source of finite spatial extent radiates spherical waves at sufficient distance. The angular dependency of the radiation properties of the source under consideration is reflected by the amplitude and phase distribution on the spherical wave fronts. The sound field emitted by a uniformly moving monopole source is derived and the far-field radiation properties of the complex virtual source under consideration are incorporated in order to derive a closed-form expression for the loudspeaker driving signal. The results are illustrated via numerical simulations of the synthesis of the sound field of a sample moving complex virtual source.

All acoustic sources are of finite spatial extent. In volumetric wave-based simulation approaches (including, e.g., the finite difference time domain method among many others), a direct approach is to represent such continuous source distributions in terms of a collection of point-like sources at grid locations. Such a representation requires interpolation over the grid and leads to common staircasing effects, particularly under rotation or translation of the distribution. In this article, a different representation is shown, based on a spherical harmonic representation of a given distribution. The source itself is decoupled from any particular arrangement of grid points, and is compactly represented as a series of filter responses used to drive a canonical set of source terms, each activating a given spherical harmonic directivity pattern. Such filter responses are derived for a variety of commonly encountered distributions. Simulation results are presented, illustrating various features of such a representation, including convergence, behaviour under rotation, the extension to the time varying case, and differences in computational cost relative to standard grid-based source representations. [ABSTRACT FROM AUTHOR]

The modeling of source directivity is a problem of longstanding interest in virtual acoustics and auralisation. This remains the case for newer time domain volumetric wave-based approaches to simulation such as the finite difference time domain method. In this article, a spatio-temporal model of acoustic wave propagation, including a source term is presented. The source is modeled as a spatial Dirac delta function under the action of a series of differential operators associated with the spherical harmonic functions. Each term in the series gives rise to the directivity pattern of a given spherical harmonic, and is separately driven through a time domain filtering operation of an underlying source signal. Such a model is suitable for calibration against measured frequency-dependent directivity patterns and a procedure for arriving at time domain filters for each spherical harmonic channel is illustrated. It also yields a convenient framework for discretisation, and a simple strategy is presented, yielding a locally-defined operation over the spatial grid. Numerical results, illustrating various features of source directivity, including the comparison of measured and synthetic directivity patterns, are presented. [ABSTRACT FROM AUTHOR]