Speaker
Description
This study investigates the perceptual differences among various recording techniques used to capture a singer-songwriter performance at the Staatstheater Oldenburg. The performance was recorded utilising binaural (Eigenmike em64, Vikk64, Kemar), stereo (ORTF, AB), and monaural (omnidirectional) configurations. Notably, the venue employs an artificial acoustic system yielding a reverberation time of 1.4 seconds. To evaluate the listener experience, a multi-stimulus rating method was employed to assess specific room-related attributes. These attributes included reverberation, tone colour, source distance, localisation, externalisation, presence, and plausibility. During the evaluation phase, playback was conducted within a virtual reality scenario using a head-mounted display. This setup fully immersed participants in a 180° visual representation of the theatre. The findings clarify the perceptual distinctions among these spatial audio formats and their broader implications for designing realistic concert-hall experiences in virtual environments.