Apparent source width: Difference between revisions

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Apparent source width is the aurally perceived extent of a sound source. Sometimes, it is defined as the impression that a source sounds larger than its optical size.<ref name="blau">{{cite journal |last1=Blau |first1=Matthias |title=Correlation of apparent source width with objective measures in synthetic sound fields |journal=Acta Acustica United With Acustica |date=2004 |volume=90 |issue=4 |page=720 |url=http://www.ingentaconnect.com/content/dav/aaua/2004/00000090/00000004/art00015# |accessdate=31 May 2018}}</ref> The impression results from several auditory cues, which are affected by sound radiation characteristics of the source itself and by characteristics of the room.

The [[auditory system]] has mechanisms that separate the processing of late [[reverberation]] from the the processing of direct sound and early [[Reflection (physics)|reflections]] referred to as [[precedence effect]]. While the late reverberation contributes to the [[perception]] of listener envelopment and reverberance, the direct sound and the early reflections mostly affect [[Sound localization|source localization]], intimacy and the apparent source width.<ref name="beranek">{{cite book|last1=Beranek|first1=Leo Leroy|title=Concert Halls and Opera Houses: Music, Acoustics, and Architecture|date=2004|publisher=Springer|___location=New York|doi=10.1007/978-0-387-21636-2|isbn=978-1-4419-3038-5|edition=Second|url=https://link.springer.com/book/10.1007/978-0-387-21636-2|accessdate=25 May 2018}}</ref> The balance of early and late arriving sound affects the perceived clarity, warmth and brilliance.

The auditory system does not process all early sounds together to derive a source ___location. In complicated acoustical scenes the auditory system integrates those parts of sound that share temporal, spectral, and spatial properties into one so-called auditory stream. An auditory stream is the counterpart to a visible [[entity|object]] in [[Gestalt psychology]]. Several auditory streams are segregated from one another. The process of integration and segregation is referred to as [[auditory scene analysis]] and is believed to be the original function of the ear.<ref name="braun">{{cite book |last1=Braun |first1=Christopher B. |last2=Grande |first2=Terry |editor1-last=Webb |editor1-first=Jacqueline F. |editor2-last=Fay |editor2-first=Richard R. |editor3-last=Popper |editor3-first=Arthur N. |title=Fish Bioacoustics |date=2008 |doi=10.1007/978-0-387-73029-5_4 |publisher=Springer |___location=New York |isbn=978-0-387-73029-5 |page=105 |url=https://link.springer.com/chapter/10.1007/978-0-387-73029-5_4 |accessdate=31 May 2018 |chapter=Evolution of peripheral mechanisms for the enhancement of sound reception}}</ref> Each auditory stream can have its own apparent source width. One auditory stream may contain the direct sound and early reflections of a single musical instrument or a [[musical ensemble]].

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==Related sound impressions==

Several subjective sound impressions are closely related to apparent source width. Reverberance refers to the impression that spatially and temporally distributes sounds blend du to reverberation. [[Liveness]] is the the impression that the room contributes more than just repititions of direct sound. A live concert sound better in a reverberant than in a dead or dry hall. In intimate halls instruments sound near and the hall sounds small. Listener envelopment is the impression that the listener takes a bath in sound, i.e., that sound comes from all over the place. Spaciousness is a term that summarizes apparent source width and listener envelopment.<ref name=beranek/>

==References==