Subjective evaluation of acoustics was studied [1] by recording nine concert halls with a simulated symphony orchestra on a seat 12 meters from the orchestra. The recorded music was spatially reproduced for subjective listening tests and individual vocabulary profiling. In addition, the preferences of the assessors and objective parameters were gathered.  The results show that concert halls were discriminated using perceptual characteristics, such as Envelopment/Loudness, Reverberance, Bassiness, Proximity, Definition, and Clarity. With these perceptual dimensions the preference ratings can be explained. Seventeen assessors were divided into two groups based on their preferences. The first group preferred concert halls with relatively intimate sound, in which it is quite easy to hear individual instruments and melody lines. In contrast, the second group preferred a louder and more reverberant sound with good envelopment and strong bass. Even though all halls were recorded exactly at the same distance, the preference is best explained with subjective Proximity and with Bassiness, Envelopment, and Loudness to some extent. Neither the preferences nor the subjective ratings could be fully explained by objective parameters (ISO3382-1:2009), although some correlations were found.

References

@article{lok12jasa,
	author = {T. Lokki and J. P{\"a}tynen and A. Kuusinen and S. Tervo},
	date-added = "2013-04-29 16:09:33 +0300",
	date-modified = "2013-04-29 16:09:33 +0300",
	journal = "Journal of the Acoustical Society of America",
	keywords = "Concert hall acoustics",
	month = "November",
	number = 5,
	pages = "3148-3161",
	title = "Disentangling preference ratings of concert hall acoustics using subjective sensory profiles",
	url = "http://dx.doi.org/10.1121/1.4756826",
	volume = 132,
	year = 2012,
	bdsk-url-1 = "http://dx.doi.org/10.1121/1.4756826"
}