The Audible Steps of Spatial Impression in Music Performances
In an anechoic room a specimen of music is played in front of a listener acting as a test subject. The person will call the sample “dry” if it had been recorded without reverberation. If this sample is offered via a reverberation device with four largely incoherent outputs and spatially distributed loudspeakers then the test person will call the sample “reverberant”. Between these two extremes there exist 14 discernible “steps of spatial impression” which may serve as a basis of a “scale of spatial impression”.
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Document Type: Research Article
Publication date: January 1, 1966
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- Acta Acustica united with Acustica, published together with the European Acoustics Association (EAA), is an international, peer-reviewed journal on acoustics. It publishes original articles on all subjects in the field of acoustics, such as general linear acoustics, nonlinear acoustics, macrosonics, flow acoustics, atmospheric sound, underwater sound, ultrasonics, physical acoustics, structural acoustics, noise control, active control, environmental noise, building acoustics, room acoustics, acoustic materials, acoustic signal processing, computational and numerical acoustics, hearing, audiology and psychoacoustics, speech, musical acoustics, electroacoustics, auditory quality of systems. It reports on original scientific research in acoustics and on engineering applications. The journal considers scientific papers, technical and applied papers, book reviews, short communications, doctoral thesis abstracts, etc. In irregular intervals also special issues and review articles are published.
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