Abstract
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.
Highlights
See e.g., [1], a virtual source is a model description of how technical parameters map to the characteristics of an isolated auditory event
Describe sound sculptures that use sound as integral element, detached from physical sculpture. We focus on the latter concept by considering auditory sculptures that are arranged by beam-formed air-borne sound and its wall reflections
They were informed that the matter of the investigation was whether and how different auditory sculptures can be discerned by these attributes, and they received an instruction on how the multi-stimulus triangular graphical user interface is used to enter the responses
Summary
See e.g., [1], a virtual source is a model description of how technical parameters map to the characteristics of an isolated auditory event. The virtual source describes the relation of a modeled auditory event location to the gains and delays that feed a signal to the surrounding loudspeakers, as the most common application. In acoustically treated studio environments [2], numerous effects can be controlled relatively precisely on the level of abstraction of such a single, moving virtual source for spatialization. Spatialization that creates immersive sound environments in electroacoustic music with 3D surround loudspeaker systems [4] often employs particle systems of virtual sources [5,6] fed by spectrally modified sounds. In contrast to isolated auditory events, we use the term auditory object [7]
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