Spatial Audio Psychoacoustics

From [2]

Most research into the mechanisms underlying directional sound perception conclude that there are two primary mechanisms at work, the importance of each depending on the nature of the sound signal and the conflicting environmental cues that may accompany discrete sources. These broad mechanisms involve the detection of timing or phase differences between the ears, and of amplitude or spectral differences between the ears. The majority of spatial perception is dependent on the listener having two ears, although certain monaural cues have been shown to exist – in other words it is mainly the differences in signals received by the two ears that matter.

In this lecture we cover issues related to the perception and cognition of spatial sound as it relates to sound recordings and reproduction. The overview of the class is as follows:

  1. 3D Sound and Spatial Audio
  2. Important terms
  3. Geometric convention
  4. Introduction to sound localization
  5. The minimum audible angle (MAA)
  6. Acoustic cues used in localization
  7. Measurements
  8. Subjective Attributes of Spatial Sound (please read **, pages from 35-39 )
  9. Conclusions

More info at:

[1] A.Gelfand – Hearing: an introduction to psychological and physiological acoustics (Chapter 13)

[2] F. Rumsey and T. McCormick – Sound and recording (Chapter 2) **

Even more ….

[3] G. Kendall – A 3-D Sound Primer: Directional Hearing and Stereo Reproduction

[4] W. Yost – Fundamentals of hearing : an introduction

[5] J. Blauert – Spatial hearing : the psychophysics of human sound localization 

[6] B. Moore – An introduction to the psychology of hearing

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