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When you hear an acoustical sound source how can your brain can perceive its location (azimuth, elevation and distance)?

It is because the emitted sound: a) has the fundamental frequency accompanied by different overtones, partials that are harmonic and inharmonic to that fundamental, resulting an unique timbre (frequency domain) and b) has an envelope with peculiar attack time and characteristics, decay, sustain, release and transients (time domain). How do you acoustically differentiate someone stroking a piano 440hz note from someone blowing an oboe and pressing its 440hz key? Others more knowledgeable may chime in, filling in the gaps and correcting misconceptions.įirst of all you need to know how your perception works. Perhaps with cheaper digital signal processing we have a chance to even both environments.Īs per item 1 you need to know how your recording was made and what level of spatial precision you want to achieve, because you need to know which kind of distortion you need to address.Ī layman multimedia guide to Immersive Sound for the technically minded (Immersive Audio and Holophony)īefore you continue to read (and I don’t think anyone will read a post so long), a warning: the following description may not be scientifically and completely accurate, but may help to illustrate the restrictions of sound reproduction. A) what makes stereo recordings played back with loudspeakers different from stereo recordings played back with headphones ī) what makes our perception while listening to real sound sources different from listening virtual sound sources reproduced via electro-acoustical transducers.​Įven if we define spatial distortion as the difference in perception of space of a real sound versus a reproduced sound, chances are every recording format played on every system would suffer spatial imprecision varying by degree, as described below.īut do not interpret the word distortion in this post as negative alteration, because although varying by degree, they are not a "fatal" types of distortion, as recordings were made with full knowledge that the reproducing systems probably were not going to match the creative environment exactly.