The Advantages of Floor Coupled Up-Firing Speakers

[markus76]

Originally Posted by Key

Kind of busy atm and don't remember the article. But was mostly dealing with conventional stereo so it wasn't much use to me.

But I haven't seen very many explanations or simple instructions on how to control out of speaker localization with conventional stereo for an example.

What are you talking about???

[Key]

I remember now it wasn't you. It just seemed like something that you would link me to. It was an old study on summing localization. They used a dummy head and tested out various scenarios to try and map out phantom imagery with stereophonic sound. I could prove very easily with a demo that the study is incomplete and doesn't cover all of the possible phantom images with conventional stereo let alone a system like what I use.

[markus76]

I still don't understand what that has to do with standardization. We're obviously using a different vocabulary and have a different level of understanding on the topic at hand. You finally might want to read some literature to prepare for further discussion. Here's a list of localization attributes commonly found in literature taken from Witteks PhD thesis (already linked several times):

Localisation
General mapping law between the location of an auditory event
and a certain attribute of the sound source. (Definition according
to Blauert, 1997)
Mechanism/Process that maps the location of an externalised
auditory event to certain characteristics of one or more sound
events. (Definition according to Theile, 1980)

Direction
The direction in which the source is perceived

Distance
Perceived range between listener and reproduced source
(Definition according to Rumsey’s (2002) ‘individual source
distance’)

Depth
Sense of perspective in the reproduced scene as a whole
(Definition according to Rumsey’s (2002) ‘environment depth’)

Stability
The degree to which the perceived location of a source changes
with time.

Robustness
The degree to which the perceived location of a source changes
with movement of the listener.

Accuracy
The degree to which the intended and the actually perceived
source agree with each other. This ‘agreement’, unless defined
differently, involves all attributes of the source. Often, the term
accuracy is used only for the ‘directional accuracy’, which
means the agreement concerning the source direction. The relevant
measure for this attribute is the ‘directional error’ of a
source/system.

Resolution
The achievable precision of the synthesised sound field in terms
of direction and/or distance.

Individual source width ISW, Apparent source width ASW
Perceived width of the source
(Definition according to Rumsey, 2002).

(Image) focus
The degree to which the energy of the perceived source is focussed
in one point.

Definition of the image
Similar to image focus


Diffuseness
Inverse of image focus

Blur
Inverse of image focus

Locatedness
Spatial distinction of a source.
(Definition according to Blauert, 1997)
The degree to which an auditory event can be said to be clearly
perceived in a particular location.

Certainty of source localisation
Similar to ‘locatedness’, used by Lund (2000)

Localisation quality, Localisation performance
These terms describe a mix of attributes. They describe the
overall performance of localisation. They should be defined
individually, because they can have ambiguous meanings
(‘quality’ of the directional accuracy, sound colour, focus, locatedness
or an ‘average’ quality?).

Externalisation
The degree to which the auditory event is outside the head

Spaciousness
Often used in the same meaning as ‘apparent source width’
ASW, but also used to describe the perceived size of the environment.

Presence
Sense of being inside an (enclosed) space or scene.
(Definition according to Rumsey, 2002).
Often also used as an attribute of sound colour.

[Key]

Originally Posted by markus76

We're obviously using a different vocabulary and have a different level of understanding on the topic at hand.

Obviously.

[Key]

Since you seem to know much more than me Markus maybe you can explain the difference between these two examples. The differences in localization you experience and what is the cause of the differences. Bonus points if you can tell me which is projecting a more accurate illusion of a real space.

Lossless A and B
zSHARE - A.flac
zSHARE - B.flac

Lossy A and B
zSHARE - A.ogg
zSHARE - B.ogg

[Pano]

back on topic, please.

OT posts deleted.

[el`Ol]

Originally Posted by Key

...let alone a system like what I use.

What system?

[graaf]

Originally Posted by markus76

Stability
The degree to which the perceived location of a source changes with time.

Robustness
The degree to which the perceived location of a source changes with movement of the listener.

ceiling flooder excels in stability and robustness, exactly where (in comparison) conventional stereo setup fails miserably - head-in-a-vice is a must

Originally Posted by markus76

(Image) focus
The degree to which the energy of the perceived source is focussed in one point.

well, in that specific sense I would even say the less focus the more realistic spatial quality

because there is no such sound source in reality, no musical instrument, in case of which energy is focussed in one point

real sound sources are sound spots of determinate sizes, some of them quite big

best,
graaf

[graaf]

Originally Posted by Key

let alone a system like what I use.

Originally Posted by el`Ol

What system?

I am also curious

[graaf]

Originally Posted by el`Ol

My Carlssons are tilted 35° upwards and 45° inwards.

points for Mr Carlsson
35° upwards is well suited for seated listener at the typical distance from the speaker of ca 3 m, and 45° inwards is perfect for classic Blumlein isosceles stereo triangle: 45°-45°-90° (unlike typical audiophile equilateral triangle)