Another point that is interesting, in considering the cognitive dimension
of spatial perception, is that some processes involve the identification of
a sounding object, and some do not.
The recognition of an over-simplified mono reverb algorithm, as an "Icon"
of the sound of a large space, require
Augustine Leudar wrote:
...
> The sounds and settings have to
> be convincing enough, believable enough, for cognitive effects to work -
> then you can get away with all sorts of acoustic inaccuracies - thats why I
> think so many sound installations in galleries leave me cold - you can see
> all t
: Surround Sound discussion group
Subject: Re: [Sursound] the power of doppler shift illusion
Hi Dave,
The paper Blauert cites is by Gardener, M.B (1969) ... this one:
http://asadl.org/jasa/resource/1/jasman/v45/i1/p47_s1?isAuthorized=no
(I dont have access to it right now)
The abstract says the
I used whispers in a sound installations quite often . We had several PA
speakers hidden around the trees and amongst other things whispers were on
the soundscape (in the darkness) . I dont really recall any proximity
illusions being created but I had the whispers at the volume that was not a
lot l
Hi Dave,
The paper Blauert cites is by Gardener, M.B (1969) ... this one:
http://asadl.org/jasa/resource/1/jasman/v45/i1/p47_s1?isAuthorized=no
(I dont have access to it right now)
The abstract says the experiment included the use of both loudspeakers and
voices. Blauert's wording suggests he i
Hi,
I don't have Blauert handy unfortunately, so perhaps someone could
enlighten me about how the study mentioned was conducted - real
whisperers or recordings? It pretty well has to be recordings -
because otherwise a whisper at 9 metres would pretty well be inaudible
(that being the whole poin
>
>
> > Semiotic frameworks such as that of Charles Peirce indicate that
> > references
> > (or signs) work in different ways. For example, mono reverb acts as an
> > "icon" (that is, it is similar to) the experience of large spaces.
> Whereas
> > the recording of hair clippers acts as an "index" o
>
> Semiotic frameworks such as that of Charles Peirce indicate that
> references
> (or signs) work in different ways. For example, mono reverb acts as an
> "icon" (that is, it is similar to) the experience of large spaces. Whereas
> the recording of hair clippers acts as an "index" of close proxi
Peter Lennox
>
> School of Technology,
> Faculty of Arts, Design and Technology
> University of Derby, UK
> e: p.len...@derby.ac.uk
> t: 01332 593155
>
> From: sursound-boun...@music.vt.edu [sursound-boun...@music.vt.edu] On
> Behalf O
Derby, UK
e: p.len...@derby.ac.uk
t: 01332 593155
From: sursound-boun...@music.vt.edu [sursound-boun...@music.vt.edu] On Behalf
Of etienne deleflie [edelef...@gmail.com]
Sent: 25 February 2013 22:01
To: Surround Sound discussion group
Subject: Re: [Sursound] the power of
On 26/02/2013, at 9:01 AM, etienne deleflie wrote:
> Jorn,
>
> it turned out that this monster of a piece is unkillable, no matter what we
>> tried. so this evil little bear of little brain but inexhaustible
>> mischievousness folded it down to mono, out of pure spite. the sound was
>> still all
Jorn,
it turned out that this monster of a piece is unkillable, no matter what we
> tried. so this evil little bear of little brain but inexhaustible
> mischievousness folded it down to mono, out of pure spite. the sound was
> still all over the place. chowning 10, bear 0.
>
> and here's to fake d
this is not meant to refute all the comments on the over-rated
importance of doppler cues in distance estimation, but: never
under-estimate the suggestive power of faked doppler shift cues.
this humble bear of very little brain once had the exceptional honor to
prepare john chowning's "turenas
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