Exploration of First-Order Ambisonics Usage in VR Concert Experiences: The effect on Presence and Perceptual Quality of Spatial Sound
Translated title
Exploration of First-Order Ambisonics Usage in VR Concert Experiences: Effekten på presence og kvalitetsopfattelse af spatial lyd
Author
Vinkel, Simone Patricia
Term
4. Term
Education
Publication year
2017
Submitted on
2017-06-02
Pages
93
Abstract
Specialet undersøger brugen af førsteordens ambisonics – et 3D-lydformat, der opfanger/enkoder lyd fra alle retninger – i VR-koncerter, hvor lyden gengives binauralt i hovedtelefoner (et separat signal til hvert øre for at simulere retning og rum). To forsøg blev gennemført, hver med sin egen koncertoplevelse. Forsøg 1 (N=27, mellem grupper) sammenlignede tre lydløsninger og deres effekt på tilstedeværelse (følelsen af at være der), oplevet kvalitet og præference: 1) ambisonics optaget med en H2n-mikrofon, 2) syntetisk (computer-genereret) ambisonics, 3) en mono reference. Der var ingen statistisk signifikante forskelle mellem betingelserne, men deltagerne havde en tydelig præference for ambisonics-optagelsen med H2n. Forsøg 2 (N=18, inden for deltagere) sammenlignede to ambisonic-mikrofoner – H2n og AMBEO VR – med fokus på tilstedeværelse, subjektiv perceptuel kvalitet og præference. Tilstedeværelsen adskilte sig ikke signifikant, og kvalitetsvurderingerne var meget ens, men også her foretrak lytterne H2n-oplevelsen. Begge forsøg viser, at ambisonics kan implementeres succesfuldt i VR-koncerter, så lydkvaliteten bevares, og en overbevisende følelse af tilstedeværelse understøttes.
This thesis examines the use of first-order ambisonics—a 3D audio format that captures/encodes sound from all directions—in VR concerts where audio is rendered binaurally over headphones (separate signals to each ear to simulate direction and space). Two studies were conducted, each built around a different concert experience. Experiment 1 (N=27, between groups) compared three audio conditions and their effects on presence (the feeling of being there), perceived quality, and listener preference: (1) an ambisonics recording made with an H2n microphone, (2) synthesized (computer-generated) ambisonics, and (3) a mono reference. No statistically significant differences were found across conditions, but participants clearly preferred the H2n ambisonics recording. Experiment 2 (N=18, within subjects) compared two ambisonic microphones—H2n and AMBEO VR—assessing presence, subjective perceptual quality, and preference. Presence did not differ significantly and quality ratings were very similar, yet listeners again preferred the H2n experience. Together, the studies show that ambisonics can be implemented successfully in VR concerts, maintaining high audio quality and supporting a convincing sense of presence.
[This abstract was generated with the help of AI]
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