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How Timbral Quality of Sound Is Affected When Using Binaural Worldizing Techniques
How Timbral Quality of Sound Is Affected When Using Binaural Worldizing Techniques
Pinecone Research Labs
How timbral quality of sound is affected
when using binaural worldizing
techniques.
Benjamin Costerton
January, 2018
How timbral quality of sound is affected example mono instrument recordings were sent
when using binaural worldizing to a large, mostly empty, room somewhere
within the studio and played out of a
techniques. loudspeaker. Also in the room would be a mono
microphone recording the instrument back,
along with all the characteristics of the large
Abstract room.
The research aims to establish to what extent The worldizing technique continued to be
timbral quality is affected when a binaural popular during the production of Star Wars in the
worldizing technique is used to manipulate the late 1970's as Ben Burtt has spoken about his
spatial properties of audio. use of the technique for adding a more
"authentic" sound to elements of the soundtrack.
Two experiments on different source material "I remember many hours playing back Darth
are carried out both in order to answer the Vader's' voice in offices, hallways, and
above question, but also gain some insight into bathrooms, in order to get just the right acoustic
the most appropriate equipment and quality" [3].
configurations for binaural worldizing. Erik Aadahl and Ethan Van der Ryn also
commented on their use of the worlizing
The research found that in some cases spatial technique during the production of Godzilla
awareness and a sense of externalisation can (2014) [4]. "We actually ended up renting the
be achieved using a binaural worldizing tour speaker array for the Rolling Stones, which
technique, however in other cases there were was about 10-feet tall and about 18-feet
negative effects to the resulting audio. wide...we played all the creature vocals through
that and then recorded it through cars, from the
The research presents some guidelines for other side of the lot, from rooftops, from within
applying a binaural re-recording/worldizing storefronts, so we could get that real-world
technique and some recommendations on feeling of what it would be like to be on a city
equipment. street and have Godzilla 50 feet away".This
example is on a much larger scale, but shows
1. What is binaural worlizing? how the technique of worldizing was adapted to
achieve the needed results, in this case getting
Worlizing is a recording technique first coined by a speaker array as big as Godzilla.
Walter Murch back in 1973 while working on
American Graffiti (1973) [1]. The technique Binaural worldizing is another adaptation on the
involves playing clean, generally unprocessed worldizing technique, whereby sound is played
sound, through a speaker in a real world from a speaker into the real world, and recorded
location, and recording it back with some sort of back using binaural recording techniques. The
portable recording setup. The reason for doing main purpose of this is to capture sound in a
so it that you now have a recording of the binaural format so that it can be listened back to
original source sound, but with all the location using headphones to achieve a 3D effect.
cues of the space you recorded in. The main focus is on achieving the 3D effect of
You could argue that the technique dates further binaural, but also the room the sound is
back to the use of echo chambers in early studio recorded in will affect the timbral quality of the
recordings. One famous example being the use sound. This paper aims to see to what extent the
of an echo chamber on the 1959 recording of timbral quality of sound is affected once a
Miles Davis' Kind of Blue (1959) recorded at binaural worlizing technique is used.
Columbia records 30th street studio [2]. In this
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Binaural microphone whilst recording 'Rainfall in binaural
close.wav'
The files in this example are as follows;;
Rainfall NOT binaural.wav
Rainfall NOT BINAURAL.wav - A stereo
recording made using an XY stereo
microphones. This is the recording played out
of the speakers in the binaural worldizing
test.
Rainfall in binaural mono.wav - A binaural
worldizing recording made using a mono
speaker playing the rainfall sfx at 0° azimuth,
45° elevation, and 10cm from the microphone. Rainfall in binaural mono.wav
The speaker used in this test was a Yamaha
MS101ii [8].
Rainfall in binaural close.wav - A binaural
worldizing recording made using a pair of
Harbeth M20 [9] speakers spaced 30cm apart.
The speaker set-up is designed to create a
phantom image at 0° azimuth and 45° elevation.
The elevation effect was created by moving the
Rainfall in binaural close.wav
microphone into a 45° elevated angle position
instead of moving the speakers as this is easier
given the setup. See image above. This
recording was made with each monitor being
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4
5
Long woosh RR to RF.wav Long woosh Front to Rear.wav
Short woosh RR to RF.wav Short woosh Front to Rear.wav
Across all of the binaural recordings there are
clear differences in frequency response which is
to be expected when adapting sound to a
binaural configuration, and similar results to the
previous test in section 5 of this paper.
There are reductions in the overall amplitude of
the binaural recordings when compared to the
original, again these are similar results to what
Long woosh L to R.wav was seen in the previous test in section 5.
6.1.1 Frequency
In all the binaural tracks there is a clear drop off
of frequency response at around 10-12kHz. The
Harbeth M20's specify a 75Hz to 20kHz
frequency range, but unfortunately LUHD do not
quote a frequency response of the PM-01AB.
Therefore the research is unable to state
Short woosh L to R.wav
whether this loss in upper frequency response is
due to the recording technique or the frequency
response on the microphones used.
Important frequencies for sound localisation
however are present in all binaural worldizing
examples given. The human voice, being an
important part of a film mix or song features
across the frequency spectrum but is most
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intelligible at around 1-3kHz [10], and these such as 'Short woosh L to R.wav' feature audible
important frequencies remain intact in all additions of room tone that change the spatial
binaural worldizing examples. awareness of the recording.
Frenchies below 700Hz, the point where the
distance between an average pair of ears is 6.1.4 Panning
equal to half the wavelength, play an important
role in the localisation of sound cues [11]. As the Some binaural examples such as 'Short woosh L
frequency spectrum images show, there is good to R.wav' feature good levels of spatial
frequencies response in all binaural audio positioning with clear movement of the sound
between 0Hz-700kHz. cues from Left to Right. Binaural recordings
As these two important spectrums of featuring sound cues panning from a front
frequencies are present after the binaural position to a rear position are not as easy to
worlizing has taken place, localisation and position in space. This is most likely down to the
intelligibility of sound cues remains intact. known issues surrounding front/back
localisation.
6.1.2 Dynamics
6.1.5 Front/Back Confusion
Following from the results of the rainfall tests in
section 5 of this paper, the dummy head was Binaural recordings that feature sound cues
placed at 20cm from the Harbeths for all test, in moving from a position behind the listener to the
an attempt to match the dynamic range of the front of the listener suffer from front/back
original recordings. confusion.
Both 'Front to Rear' and 'RR to FR' suffer from
The dynamic range of the woosh recordings front/back confusion and features less obvious
were tested using a TC Electronics LM6n. The localisation cues.
dynamic range of the recordings are as follows;; As the recordings offer no opportunity for the
listener to use head movement to assist in
Long woosh pass-by.wav - 8.9dB localisation, front/back confusion is expected in
Short woosh pass-by.wav - 10.3dB the recordings [11,12]
Long woosh RR to RF.wav - 8.1dB
Short woosh RR to RF.wav - 12.6dB
Long woosh L to R.wav - 10.8dB 7 Results
Short woosh L to R.wav - 12.7dB
Long woosh Front to Rear.wav - 10.7dB
Short woosh Front to Rear.wav - 11.9dB
Using the 20cm distance from speakers to
microphone array has kept changes in dynamic
range to around 2dB in all cases, an
improvement on the rainfall test in section 5 of
this paper.
6.1.3 Spatial Awareness / Room Reflections
The spectral analysis of the binaural recordings
show the addition of room tone in all cases. This
room tone however is not at a level where it is
negatively affecting the recordings. Recordings
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Fig 1. Table outlining the results of the rainfall binaural worldizing tests.
File Pros Cons Comments
Rainfall NOT Good spatial (left/right) Lack of externalisation, Original non binaural
BINAURAL.wav separation due to XY probably due to nature audio used for
microphone pattern of recording, being a playback in
used. large ambient worldizing
soundscape. experiment.
Rainfall in binaural Good low frequency Higher frequencies Recording made using
close.wav response to thunder much more prevalent in Harbeth M20 speakers
within the recordings. recording. This in stereo 2.0
The thunder also example was not able configuration.
maintains a good sense to capture a low end of
of stereo imagery. the rainfall resulting in a
poor representation of
rain atmos.
Rainfall in binaural Good low frequency Similar to above Recording made using
far.wav response to thunder example, but to a Harbeth M20 speakers
within the recordings. greater extent. The in stereo 2.0
The thunder also lower frequencies of the configuration.
maintains a good sense rain within the recording
of stereo imagery. have suffered badly
due to the worldizing
technique
Fig 2. Table outlining the results of the moving sound cues binaural worldizing tests.
File Pros Cons Comments
Long woosh Clear sound, obvious Lack of externalisation Original non binaural
pass-by.wav panning from right to when listened to over audio used for
left. headphones playback in
worldizing
experiment.
Short woosh Clear and 'punchy' Lack of externalisation. Original non binaural
pass-by.wav sound. Clear panning Very 'clinical' recording audio used for
from right to left. of effect with little to no playback in
tail. worldizing
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experiment.
Long woosh RR to More externalisation No great definition Recording made using
RF.wav than original recording, between rear and front Harbeth M20 speakers
sound appears to be positions. Sound in stereo 2.0
further from listening appear to originate from configuration.
position, particularly a rear position, but Microphone
during the tail of the does not clearly finnish arrangement 20cm
sound effect. in the opposite front from speakers.
Frequency response position. Obvious case
appears to be mostly of front/back confusion.
intact when compared
to original recording.
Short woosh RR to Some movement is Again this recording Recording made using
RF.wav clear in recording, sufferers from Harbeth M20 speakers
frequency response is front/back confusion. in stereo 2.0
good, also change in configuration.
dynamics matches the Microphone
sound effects position arrangement 20cm
in space. from speakers.
Long woosh L to Good spatial Obvious change in Recording made using
R.wav awareness and panning dynamic range and Harbeth M20 speakers
from left to right. amplitude. in stereo 2.0
configuration.
Microphone
arrangement 20cm
from speakers.
Short woosh L to Good spatial Less amplitude than Recording made using
R.wav awareness and panning original recording. Harbeth M20 speakers
from left to right. in stereo 2.0
Improved configuration.
externalisation Microphone
compared to original arrangement 20cm
recording. from speakers.
Long woosh Front to Good representation of No obvious movement Recording made using
Rear.wav frequency and of sound from front to Harbeth M20 speakers
dynamics. rear. Front/back in stereo 2.0
confusion obvious as configuration.
recording moves from Microphone
0° to 180°. arrangement 20cm
from speakers.
Short woosh Front to Good representation of No obvious movement Recording made using
Rear.wav frequency and of sound from front to Harbeth M20 speakers
dynamics. rear. Front/back in stereo 2.0
confusion obvious as configuration.
recording moves from Microphone
0° to 180°. arrangement 20cm
from speakers.
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All of the binaural recordings feature room [6] Costerton, B (2013). A Systematic Review of
reflections due to the worldizing technique. The the Most Appropriate Methods of Achieving
recordings in this test were all performed in a Spatially Enhanced Audio for Headphone Use.
deadened small vocal booth, however some Buckinghamshire New University. UK
room reflections exist in the recordings. These
room reflections appear to add a sense of [7] Anon (nd). PM-01AB Stereo Microphone.
externalisation to the worldized sound effects [Online] LUHD. Available from:
which is a positive quality for spatial audio https://www.luhd-mics.com/store/p19/PM-01AB_
designed to be listened to via headphones. Stereo_Microphone.html [Accessed: 20
Janurary 2018]
8.6 Usefulness of worldizing technique
[8] Anon (nd). MS101ii. [Online] Yamaha.
Whether worldized binaural sound effects would Available from:
be useful as part of a greater sound mix will http://www.yamahaproaudio.com/global/en/prod
ultimately be up to the sound effects editor on ucts/speakers/ms101iii/ [Accessed 20 Janurary
any particular project. However it is possible say 2018]
that some of the recordings produced as a result
of the research are of a good enough quality in [9] Anon (nd) The Monitor 20.1 Pro. [Online]
spatial characteristics, frequency response, and Available from:
dynamics to be used as part of a sound mix. http://www.harbeth.co.uk/studio-monitors/monito
r-20-1-pro.php [Accessed 20 Janurary 2018]
References: [10] Purcell, J. (2012). Dialogue Editing for
Motion Pictures. Focal Press. Oxford
[1] Murch, W. (n.d) Walter Murch Articles
[Online]. Filmsound.org. Available from: [11] Rumsey, F. (2001). Spatial Audio. Focal
http://filmsound.org/murch/murch.htm Press. Oxford
[Accessed: 20 January 2018]
[12] Satrongar, D. Pike, C. Lam, Y. Tew, A.
[2] Kahn, A. (2002), Kind of Blue, The Making of (2015) The Influence of Headphones on the
a masterpiece. Granta Publications. London Localization of External Loudspeaker Sources.
AES. USA
[3] Burrt, B. (2001) Galactic Phrase Book &
Travel Guide. Lucas Books. Random House.
New York.
[4] Anon. (2014) Godzilla: Behind the Roar
[Online]. Soundworks Collection. Available from:
http://soundworkscollection.com/news/godzilla--
behind-the-roar [Accessed: 20 Janurary 2018]
[5] Miramontes, J. (n.d) 5.1 Re-recording
to Binaural. [Online] Stanford University.
Available from:
https://ccrma.stanford.edu/~jorgem/220a/fi
nal-proj.html [Accessed 20 January 2018]
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