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Encouraging Students Towards Meaningful Subjective Comparisons
- 1. encouraging students towards meaningful subjective comparisons Bradford Swanson July 27, 2013 - Murfreesboro, TN AES 50th Conference on Audio Education bradfordswanson.com
- 2. encouraging students TO: use their ears beware of outside stimuli understand research methods incorporate into daily practice bradfordswanson.com
- 3. outline audio research methods practices in other disciplines sample comparison experience audio specific recommendations bradfordswanson.com
- 4. subjectivity research in audio codecs up/downmixing multichannel techniques HRTF & spatial perception bradfordswanson.com
- 5. subjectivity research in audio graphical representations comparisons ratings bradfordswanson.com sound quality speech intelligibility localization & envelopment
- 6. audio research methods 2:15 PM - CoE 164 - Paper #21 “From Practice to Research and Back Again: Research Skills in Audio Engineering Education” Drs. Leffords & Berg bradfordswanson.com
- 7. audio research methods ITU-R BS.1116-1 ITU-R BS.1534-1 ITU-R BS.1284-1 semantic differential bradfordswanson.com
- 8. ITU-R BS.1116-1 (ABC/HR) bradfordswanson.com Methods for the subjective assessment of small impairments in audio systems Three stimuli Rated by impairment Single listen to each Reference Reference = one of the stimuli
- 9. ITU-R BS.1534-1 (MUSHRA) bradfordswanson.com Method for the subjective assessment of intermediate quality level of coding systems MUltiple Stimulus with Hidden Reference and Anchor Three or more stimuli Rated by sound quality Multiple listens Reference Reference = one of the stimuli Anchor = one of the stimuli
- 10. ITU-R BS.1534-1 (MUSHRA) bradfordswanson.com Method for the subjective assessment of intermediate quality level of coding systems MUltiple Stimulus and Anchor Hidden Reference Source: mushraJS
- 11. ITU-R BS.1284-1 (general) General Methods for the Subjective Assessment of Sound Quality bradfordswanson.com Single stimuli
- 12. ITU-R BS.1284-1 (general) General Methods for the Subjective Assessment of Sound Quality bradfordswanson.com Multiple stimuli
- 13. semantic differential bradfordswanson.com Source: Marui, A., Martens, W. - “Timbre of nonlinear distortion effects: Perception beyond aptitude beyond “sharpness”?” ratings along bipolar adjective scales
- 14. semantic differential bradfordswanson.com 9 stimuli randomized through all 12 adjective pairs Stimuli One Dark ---------------------- Bright ratings along bipolar adjective scales
- 15. semantic differential bradfordswanson.com Stimuli Eight Dark ---------------------- Bright 9 stimuli randomized through all 12 adjective pairs ratings along bipolar adjective scales
- 16. semantic differential bradfordswanson.com Stimuli Eight Sharp ---------------------- Dull 9 stimuli randomized through all 12 adjective pairs ratings along bipolar adjective scales
- 17. semantic differential bradfordswanson.com 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
- 18. practices in other disciplines Formal Sensory Evaluation Psychological Tendencies Cultural Considerations Casual/Social Experiences bradfordswanson.com
- 19. sensory evaluation methods Affective Tests bradfordswanson.com “Untrained” Participants Quantative Suvery Questionairre Qualitative Interview or focus group Free response description
- 20. sensory evaluation methods Descriptive Analysis or Attribute Difference Tests bradfordswanson.com Highly trained participants Sensory lexicon of defined terms Rating intensity or quality on a scale
- 21. sensory evaluation methods Discrimination or Overall Difference Tests bradfordswanson.com Highly trained participants Three Stimuli (two similar) Whether there is a difference and/or How much of a difference there is
- 22. sensory evaluation methods Discrimination or Overall Difference Tests bradfordswanson.com A - B - A which is the odd one out?
- 23. sensory evaluation methods Discrimination or Overall Difference Tests bradfordswanson.com A (ref.) - A - B or B (ref.) - A - B which is most/least like the reference?
- 24. sensory evaluation methods Discrimination or Overall Difference Tests bradfordswanson.com A (ref.) - A - B or B (ref.) - A - B how much difference is there between these samples?
- 25. psychological tendencies Expectation Errors Suggestion Effects Distraction Errors Stimulus/Logical Errors Halo Effects/Proximity Errors Carry-over, Order or Contrast Effects bradfordswanson.com
- 26. cultural considerations Personal Preferences Background Experience Accessibility bradfordswanson.com
- 27. sensory evaluation methods Experimental Design bradfordswanson.com Identify test objectives Determine statistical analysis method Define the terminology used Provide a control Consider screening order
- 28. subjective listening experience 15 examples Varying timbral qualities Mark your perception bradfordswanson.com
- 29. SUBJECTIVE LISTENING EXPERIENCE Test Objective bradfordswanson.com develop critical listening skills compare timbral perception of equipment
- 30. SUBJECTIVE LISTENING EXPERIENCE Statistical Analysis bradfordswanson.com Not collected - for personal use
- 31. SUBJECTIVE LISTENING EXPERIENCE Define the terminology bradfordswanson.com Timbe: Content = Content Presentation = Presentation Pitch = Pitch Loudness = Loudness Something = Something
- 32. SUBJECTIVE LISTENING EXPERIENCE Define the terminology bradfordswanson.com Timbe: Harmonic Content or Frequency Spectrum
- 33. SUBJECTIVE LISTENING EXPERIENCE Define the terminology bradfordswanson.com Timbe: Content = Content Presentation = Presentation Pitch = Pitch Loudness = Loudness Something = Something
- 34. SUBJECTIVE LISTENING EXPERIENCE Consider Screening Order bradfordswanson.com ?
- 35. subjective listening experience 15 examples Varying timbral qualities Mark your perception bradfordswanson.com
- 36. subjective listening experience bradfordswanson.com “uncolored” or natural reproduction of the harmonic content of this voice
- 37. subjective listening experience bradfordswanson.com “colored” or significant deviations from the natural harmonic content of this voice
- 38. subjective listening experience bradfordswanson.com colored uncolored l------l------l------l------l------l
- 39. subjective listening experience bradfordswanson.com what the heck was that?
- 40. SUBJECTIVE LISTENING EXPERIENCE Consider Screening Order bradfordswanson.com Randomisation Balanced Test Design *5 stimuli *each presented 3 times *in different orders
- 41. subjective listening experience bradfordswanson.com What the heck was that? Shakespeare’s 29th Sonnet Performed once Bob Kuhn (bkvoice.com) 5 microphones - 3 times each References included as stimuli Similar signal flow
- 42. subjective listening experience bradfordswanson.com Colored reference Examples 4, 8, and 15 Shure 55sw
- 43. subjective listening experience bradfordswanson.com Examples 3, 9, and 14 Beyer M-88
- 44. subjective listening experience bradfordswanson.com Examples 1, 7, and 10 Sennheiser MD-409
- 45. subjective listening experience bradfordswanson.com Examples 2, 6, and 12 AKG C-535
- 46. subjective listening experience bradfordswanson.com Uncolored reference Examples 5, 11, and 13 DPA 4006
- 47. subjective listening experience bradfordswanson.com 1) MD-409 2) C-535 3) M-88 4) 55sw 5) 4006 6) C-535 7) MD-409 8) 55sw 9) M-88 10) MD-409 11) 4006 12) C-535 13) 4006 14) M-88 15) 55sw
- 48. Casual/Social experiences “it’s a wine-tasting, bradfordswanson.com not a shootout” Tom Bates
- 49. recommendations Experimental Design bradfordswanson.com Define Goals Define Variables Minimize Distractors
- 50. recommendations Matching non-variables bradfordswanson.com Performance Presentation Signal Path Gain
- 51. recommendations Listening Experience Design bradfordswanson.com Listening Environments Double-Blind Testing Conduct a pilot session Listen past the technology