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encouraging students towards meaningful subjective comparisonsBradford SwansonJuly 27, 2013 - Murfreesboro, TNAES 50th Conference on Audio Education
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encouraging students TO:use their earsbeware of outside stimuliunderstand research methodsincorporate into daily practice
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outlineaudio research methodspractices in other disciplinessample comparison experienceaudio specific recommendations
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subjectivity research in audiocodecsup/downmixingmultichannel techniquesHRTF & spatial perception
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subjectivity research in audiographical representationscomparisons ratings
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sound qualityspeech intelligibility
localization & envelopment
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audio research methods2:15 PM - CoE 164 - Paper #21“From Practice to Research and Back Again: Research Skills in Audio Engineering Education” Drs. Leffords & Berg
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audio research methodsITU-R BS.1116-1ITU-R BS.1534-1 ITU-R BS.1284-1semantic differential
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ITU-R BS.1116-1 (ABC/HR)
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Methods for the subjective assessment of small impairments in audio systems
Three stimuliRated by impairmentSingle listen to eachReference Reference = one of the stimuli
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ITU-R BS.1534-1 (MUSHRA)
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Method for the subjective assessment of intermediate quality level of coding systems
MUltiple Stimulus with Hidden Reference and Anchor
Three or more stimuliRated by sound qualityMultiple listensReference Reference = one of the stimuliAnchor = one of the stimuli
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ITU-R BS.1534-1 (MUSHRA)
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Method for the subjective assessment of intermediate quality level of coding systems
MUltipleStimulus
and
Anchor
HiddenReference
Source: mushraJS
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ITU-R BS.1284-1 (general)
General Methods for the Subjective Assessment of Sound Quality
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Single stimuli
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ITU-R BS.1284-1 (general)
General Methods for the Subjective Assessment of Sound Quality
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Multiple stimuli
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semantic differential
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Source: Marui, A., Martens, W. - “Timbre of nonlinear distortion effects: Perception beyond aptitude beyond “sharpness”?”
ratings along bipolar adjective scales
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semantic differential
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9 stimuli randomized through all 12 adjective pairs
Stimuli One
Dark ---------------------- Bright
ratings along bipolar adjective scales
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semantic differential
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Stimuli Eight
Dark ---------------------- Bright
9 stimuli randomized through all 12 adjective pairs
ratings along bipolar adjective scales
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semantic differential
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Stimuli Eight
Sharp ---------------------- Dull
9 stimuli randomized through all 12 adjective pairs
ratings along bipolar adjective scales
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semantic differential
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Source: Marui, A., Martens, W. - “Timbre of nonlinear distortion effects: Perception beyond aptitude beyond “sharpness”?”
9 stimuli assessed using all 12
adjective pairings
ratings along bipolar adjective scales
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practices in other disciplinesFormal Sensory Evaluation Psychological TendenciesCultural ConsiderationsCasual/Social Experiences
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sensory evaluation methodsAffective Tests
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“Untrained” ParticipantsQuantative Suvery QuestionairreQualitative Interview or focus group Free response description
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sensory evaluation methodsDescriptive Analysis orAttribute Difference Tests
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Highly trained participantsSensory lexicon of defined termsRating intensity or quality on a scale
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sensory evaluation methodsDiscrimination or Overall Difference Tests
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Highly trained participantsThree Stimuli (two similar)Whether there is a difference and/or
How much of a difference there is
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sensory evaluation methodsDiscrimination or Overall Difference Tests
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A - B - Awhich is the odd one out?
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sensory evaluation methodsDiscrimination or Overall Difference Tests
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A (ref.) - A - B or
B (ref.) - A - B
which is most/least like the reference?
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sensory evaluation methodsDiscrimination or Overall Difference Tests
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A (ref.) - A - B or
B (ref.) - A - B
how much difference is there between these samples?
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psychological tendenciesExpectation ErrorsSuggestion EffectsDistraction ErrorsStimulus/Logical ErrorsHalo Effects/Proximity ErrorsCarry-over, Order or Contrast Effects
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cultural considerationsPersonal PreferencesBackground ExperienceAccessibility
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sensory evaluation methodsExperimental Design
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Identify test objectivesDetermine statistical analysis methodDefine the terminology usedProvide a controlConsider screening order
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subjective listening experience15 examples Varying timbral qualitiesMark your perception
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SUBJECTIVE LISTENING EXPERIENCETest Objective
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develop critical listening skillscompare timbral perception of equipment
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SUBJECTIVE LISTENING EXPERIENCEStatistical Analysis
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Not collected - for personal use
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SUBJECTIVE LISTENING EXPERIENCEDefine the terminology
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Timbe:Content = ContentPresentation = PresentationPitch = PitchLoudness = LoudnessSomething = Something
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SUBJECTIVE LISTENING EXPERIENCEDefine the terminology
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Timbe:Harmonic Content or Frequency Spectrum
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SUBJECTIVE LISTENING EXPERIENCEDefine the terminology
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Timbe:Content = ContentPresentation = PresentationPitch = PitchLoudness = LoudnessSomething = Something
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SUBJECTIVE LISTENING EXPERIENCEConsider Screening Order
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?
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subjective listening experience15 examples Varying timbral qualitiesMark your perception
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subjective listening experience
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“uncolored”or
natural reproduction of the harmonic content of this voice
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subjective listening experience
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“colored”or
significant deviations from the natural harmonic content of this voice
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subjective listening experience
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colored uncolored
l------l------l------l------l------l
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subjective listening experience
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what the heck was that?
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SUBJECTIVE LISTENING EXPERIENCEConsider Screening Order
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RandomisationBalanced Test Design
*5 stimuli*each presented 3 times*in different orders
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subjective listening experience
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What the heck was that?Shakespeare’s 29th SonnetPerformed onceBob Kuhn (bkvoice.com)5 microphones - 3 times eachReferences included as stimuliSimilar signal flow
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subjective listening experience
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Colored referenceExamples 4, 8, and 15
Shure 55sw
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subjective listening experience
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Examples 3, 9, and 14
Beyer M-88
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subjective listening experience
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Examples 1, 7, and 10
Sennheiser MD-409
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subjective listening experience
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Examples 2, 6, and 12
AKG C-535
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subjective listening experience
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Uncolored referenceExamples 5, 11, and 13
DPA 4006
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subjective listening experience
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1) MD-4092) C-5353) M-884) 55sw5) 40066) C-5357) MD-4098) 55sw
9) M-8810) MD-40911) 400612) C-53513) 400614) M-8815) 55sw
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Casual/Social experiences
“it’s a wine-tasting,
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not a shootout” Tom Bates
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recommendationsExperimental Design
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Define GoalsDefine VariablesMinimize Distractors
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recommendationsMatching non-variables
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PerformancePresentationSignal PathGain
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recommendationsListening Experience Design
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Listening EnvironmentsDouble-Blind TestingConduct a pilot sessionListen past the technology
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