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Understanding Frequency Response Requirements for Stereo Loudspeakers in Acoustic Environments

This document delves into the essential concepts of frequency response and auditory perception related to stereo loudspeakers. It addresses on-axis and off-axis frequency response requirements, the impact of room acoustics on sound quality, and how listener positioning affects audio perception. Key themes include direction, distance, tonality, and the importance of achieving a natural phantom sound stage. By exploring different loudspeaker configurations and their interaction with space, this guide aims to enhance audio reproduction quality for optimal listening experiences.

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Understanding Frequency Response Requirements for Stereo Loudspeakers in Acoustic Environments

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  1. S e n s i b l e R e p r o d u c t i o n & R e c o r d i n g o f A u d i t o r y S c e n e s What are the On-axis & Off-axis Frequency Response Requirements for Stereo Loudspeakers? LINKWITZ LAB

  2. HEARING: A single loudspeaker in a room • Direction • Distance • Room • Tonality lateral shift angular shift • Intelligibility • Gestalt • Auditory Horizon

  3. HEARING: A single loudspeaker in a room • Direction • Distance • Room • Tonality lateral shift angular shift • Intelligibility • Gestalt • Auditory Horizon Dipole loudspeaker near a room corner

  4. On-axis: Flat • Off-axis: • Frequency independentat every angle • acoustically small • point sourceRoom: • Flat reverberation Frequency Responsefor a mono loudspeaker in a room

  5. HEARING: Monaural Phantom Sourcefrom two loudspeakers R • Unnatural phenomenon • Direction? Lateral shift? Angular shift? • Distance? • Size? • Tonality? • Gestalt? L

  6. Monaural Phantom Sourcefrom two loudspeakers R • Cross-talkcancellation • 30 degree HRTF • Sweet spot size • Off-center sound L

  7. Monaural Phantom Sourcefrom two loudspeakers • Cross-talkcancellation • Stereo Dipole • HRTF • Sweet spot size • Phantom source width • Off-center sound R L

  8. Cross-talkcancellation • Stereo Dipole Phantom Sourcefrom two loudspeakers Don B. Keele

  9. Head-Related-Transfer-Functions Diffraction Level at eardrum relative to frontal incidence at 00 Level at a point on a rigid sphere relative to the level without the sphere Duda & Martens, 1998

  10. Sphere-Related-Transfer-Functions Level at 22.50 & 450incidence relative to 00 incidence (22.50) 17.5 cm diameter 450 3.3 dB Level at a point on a rigid sphere relative to the level at the center without the sphere 22.50 0 dB Inverse of empirical EQ Shaw, 1974

  11. Rolled-off towardshigh frequencies On-axis Frequency Response of stereo loudspeakers R L

  12. Experimental equalization networks Equalization curves arrived at by listening Circuit detail from ORION Revision 3

  13. Response: • As on-axis • Independent of angle except for amplitude • Reflections: • Symmetrical • Delayed • Source types: • Omni • Dipole • Cardioid Off-axis Frequency Response& Room Reflections R L

  14. Loudspeaker-Listener triangle • Symmetry to reflective surfaces • Loudspeakers out in the room • Lively room • Diffuse end • Dead end • Hiding the room • Hiding the loudspeakers Stereo setup in the room R D I F F U S E – E N D D E A D - E N D L >1 m >1 m

  15. Phantom Source placementhorizontally by channel differences Damaske, 2008 Duplex Theory of Directional Hearing: Inter-aural Time Differences (ITD) at low frequencies Inter-aural Level Differences (ILD) at high frequencies (Ignoring HRTF changes)

  16. Recording as creation of Art Source sizePerspectiveDistanceTimbre The Mix of microphone signals

  17. The optimum frequency responseand setup of loudspeakers in the room are essential to Phantom Source Creation and to experience Stereoat its full capabilitySTEREO System = ILLUSION Engine

  18. S e n s i b l e R e p r o d u c t i o n & R e c o r d i n g o f A u d i t o r y S c e n e s LINKWITZ LAB

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