The relationship between subjective and objective response differences at different heights above cinema seating
The relationship between subjective and objective response differences at different heights above cinema seating
It has been customary to perform the calibration of the loudspeaker responses in cinemas with the measuring microphones placed at, or near, the height of the ears of the seated audience, in the belief that this would best represent the sound as actually heard, but the motives for doing this would appear to have been based on anecdotal evidence more than from specific testing. In the light of the fact that the cinema industry is currently looking at reassessing the whole subject of theatre calibration, this paper reports on a pilot study to investigate at which height the calibration microphones should be placed in order to best represent the most realistically-perceived sound quality.
cinema sound, seat dip
Newell, Philip
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Santos Dominguez, David
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Holland, Keith
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Torres-Guijarro, Soledad
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Castro, Sergio
77c43dac-aa50-4195-b8a6-ef5475a1c2cd
November 2015
Newell, Philip
23f68332-e384-4c40-9704-9e5fc264e26f
Santos Dominguez, David
8fdbc92e-f982-4e92-9a59-290df0ea7ea7
Holland, Keith
90dd842b-e3c8-45bb-865e-3e7da77ec703
Torres-Guijarro, Soledad
19cd2f41-95f5-43a0-9da2-fb32fef0c90d
Castro, Sergio
77c43dac-aa50-4195-b8a6-ef5475a1c2cd
Newell, Philip, Santos Dominguez, David, Holland, Keith, Torres-Guijarro, Soledad and Castro, Sergio
(2015)
The relationship between subjective and objective response differences at different heights above cinema seating.
In Reproduced Sound 2015.
vol. 37,
Institute of Acoustics.
177 pp
.
Record type:
Conference or Workshop Item
(Paper)
Abstract
It has been customary to perform the calibration of the loudspeaker responses in cinemas with the measuring microphones placed at, or near, the height of the ears of the seated audience, in the belief that this would best represent the sound as actually heard, but the motives for doing this would appear to have been based on anecdotal evidence more than from specific testing. In the light of the fact that the cinema industry is currently looking at reassessing the whole subject of theatre calibration, this paper reports on a pilot study to investigate at which height the calibration microphones should be placed in order to best represent the most realistically-perceived sound quality.
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Published date: November 2015
Venue - Dates:
Institute of Acoustics: Reproduced Sound 2015, Moreton-in-Marsh, 2015-11-10 - 2015-11-12
Keywords:
cinema sound, seat dip
Identifiers
Local EPrints ID: 426125
URI: http://eprints.soton.ac.uk/id/eprint/426125
PURE UUID: ee45616b-3f0a-4a1d-b474-0dd0e8fa72a6
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Date deposited: 15 Nov 2018 17:30
Last modified: 15 Mar 2024 22:46
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Contributors
Author:
Philip Newell
Author:
David Santos Dominguez
Author:
Keith Holland
Author:
Soledad Torres-Guijarro
Author:
Sergio Castro
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