@article{nokey,

title = {Research on depth information based object-tracking and stage size estimation for immersive audio panning},

author = {Kangeun Lee and Hongjun Park and Sungyoung Kim},

issn = {1225-4428},

year  = {2024},

date = {2024-09-30},

urldate = {2024-09-30},

journal = {The Journal of the Acoustical Society of Korea},

volume = {43},

number = {5},

pages = {529-535},

keywords = {},

pubstate = {published},

tppubtype = {article}

}

@article{howie2024perceptual,

title = {Perceptual comparison of 3D audio reproduction with and without bottom channels},

author = {Will Howie and Denis Martin and Atsushi Marui and Toru Kamekawa and Sungyoung Kim and Aybar Aydin and Richard King},

doi = {https://doi.org/10.17743/jaes.2022.0136},

year  = {2024},

date = {2024-04-01},

urldate = {2024-04-01},

journal = {Journal of the audio engineering society},

volume = {72},

issue = {4},

pages = {221-234},

abstract = {This study examines the perceptual effects of bottom channels, i.e., floor-level loudspeakers, within 3D audio reproduction. Two listening tests were undertaken at three different venues, using experienced subjects. Both experiments involved comparing three different versions of seven different musical and nonmusical sound scenes: the original mix with all three vertical loudspeaker layers active (Full), the bottom layer muted (Cut), and the bottom layer downmixed into the main layer loudspeakers (X). Results indicate that listeners could discriminate between the three reproduction conditions with a very high degree of accuracy, particularly when comparing the "Full vs. Cut" and "Full vs. X" conditions. Subjects found that the most salient aspects of the sound scene in terms of differentiating between reproduction conditions were related to low-frequency energy, changes in horizontal and vertical imaging, and timbre/tone. Discrimination ability between reproduction conditions was consistent across all three listener groups, though subjects` perception of the degree of difference between reproduction conditions across various auditory attributes varied between groups. These differences may be related to subjects` previous experience with 3D audio including bottom channels, venue bottom-layer loudspeaker angles of elevation, and venue acoustic conditions.},

keywords = {},

pubstate = {published},

tppubtype = {article}

}

@article{app13148499,

title = {Neural Mechanisms Related to the Enhanced Auditory Selective Attention Following Neurofeedback Training: Focusing on Cortical Oscillations},

author = {Hwan Shim and Leah Gibbs and Karsyn Rush and Jusung Ham and Subong Kim and Sungyoung Kim and Inyong Choi},

url = {https://www.mdpi.com/2076-3417/13/14/8499},

doi = {10.3390/app13148499},

issn = {2076-3417},

year  = {2023},

date = {2023-07-17},

urldate = {2023-01-01},

journal = {Applied Sciences},

volume = {13},

number = {14},

abstract = {Selective attention can be a useful tactic for speech-in-noise (SiN) interpretation as it strengthens cortical responses to attended sensory inputs while suppressing others. This cortical process is referred to as attentional modulation. Our earlier study showed that a neurofeedback training paradigm was effective for improving the attentional modulation of cortical auditory evoked responses. However, it was unclear how such neurofeedback training improved attentional modulation. This paper attempts to unveil what neural mechanisms underlie strengthened auditory selective attention during the neurofeedback training paradigm. Our EEG time–frequency analysis found that, when spatial auditory attention was focused, a fronto-parietal brain network was activated. Additionally, the neurofeedback training increased beta oscillation, which may imply top-down processing was used to anticipate the sound to be attended selectively with prior information. When the subjects were attending to the sound from the right, they exhibited more alpha oscillation in the right parietal cortex during the final session compared to the first, indicating improved spatial inhibitory processing to suppress sounds from the left. After the four-week training period, the temporal cortex exhibited improved attentional modulation of beta oscillation. This suggests strengthened neural activity to predict the target. Moreover, there was an improvement in the strength of attentional modulation on cortical evoked responses to sounds. The Placebo Group, who experienced similar attention training with the exception that feedback was based simply on behavioral accuracy, did not experience these training effects. These findings demonstrate how neurofeedback training effectively improves the neural mechanisms underlying auditory selective attention.},

keywords = {},

pubstate = {published},

tppubtype = {article}

}

@article{kim_cozzarin_2023,

title = {A new technical ear training game and its effect on critical listening skills},

author = {Sungyoung Kim and Jacob Cozzarin},

doi = {https://doi.org/10.3390/app13095357},

year  = {2023},

date = {2023-04-23},

urldate = {2023-04-23},

journal = {Applied Sciences},

volume = {13},

issue = {9},

abstract = {Technical ear training has proven to be an effective tool for developing the skills of junior audio engineers and enhancing their proficiency in audio and music production. To provide a comprehensive auditory training experience, the authors have created a gamified training program that encompasses four modules: spectral identification, auditory localization, consistent judgment, and memory of a mix balance. Each module is designed to give trainees closed-loop audiomotor training, allowing them to instantly assess their performance and identify areas where they need to improve. This new ear-training game helped players to be more engaged and resulted in the improvement of trained audio engineering skills. Moreover, the game also benefited a non-trained auditory skill, speech understanding in noise.},

keywords = {},

pubstate = {published},

tppubtype = {article}

}

@article{sato_marui_kamekawa_kim_2022,

title = {Variation in the temporal window of integration with changing the sound pressure level of a sound stimulus},

author = {Rai Sato and Atsushi Marui and Toru Kamekawa and Sungyoung Kim},

doi = {https://doi.org/10.1250/ast.43.162},

issn = {1347-5177},

year  = {2022},

date = {2022-03-01},

urldate = {2022-03-01},

journal = {Acoustical Science and Technology},

volume = {43},

number = {2},

keywords = {},

pubstate = {published},

tppubtype = {article}

}

@article{kim2021influence,

title = {Influence of the listening environment on recognition of immersive reproduction of orchestral music sound scenes},

author = {Sungyoung Kim and Will Howie},

doi = {https://doi.org/10.17743/jaes.2021.0035},

year  = {2021},

date = {2021-11-01},

urldate = {2021-11-01},

journal = {Journal of the audio engineering society},

volume = {69},

issue = {11},

pages = {834-848},

abstract = {This study investigates how a listening environment (the combination of a room`s acoustics and reproduction loudspeaker) influences a listener`s perception of reproduced sound fields. Three distinct listening environmentswith different reverberation times and clarity indices were compared for their perceptual characteristics. Binaural recordings were made of orchestral music, mixed for 22.2 and 2-channel audio reproduction, within each of the three listening rooms. In a subjective listening test, 48 listeners evaluate these binaural recordings in terms of overall preference and five auditory attributes: perceived width, perceived depth, spatial clarity, impression of being enveloped, and spectral fidelity. Factor analyses of these five attribute ratings show that listener perception of the reproduced sound fields focused on two salient factors, spatial and spectral fidelity, yet the attributes` weightings in those two factors differs depending on a listener`s previous experience with audio production and 3D immersive audio listening. For the experienced group, the impression of being enveloped was the most salient attribute, with spectral fidelity being the most important for the non-experienced group.},

keywords = {},

pubstate = {published},

tppubtype = {article}

}

@article{acoustics3010012,

title = {Preserving Human Perspectives in Cultural Heritage Acoustics: Distance Cues and Proxemics in Aural Heritage Fieldwork},

author = {Miriam A. Kolar and Doyuen Ko and Sungyoung Kim},

url = {https://www.mdpi.com/2624-599X/3/1/12},

doi = {10.3390/acoustics3010012},

issn = {2624-599X},

year  = {2021},

date = {2021-02-25},

urldate = {2021-01-01},

journal = {Acoustics},

volume = {3},

number = {1},

pages = {156–176},

abstract = {We examine the praxis implications of our working definition of aural heritage: spatial acoustics as physically experienced by humans in cultural contexts; aligned with the aims of anthropological archaeology (the study of human life from materials). Here we report on human-centered acoustical data collection strategies from our project “Digital Preservation and Access to Aural Heritage via a Scalable, Extensible Method,” supported by the National Endowment for the Humanities (NEH) in the USA. The documentation and accurate translation of human sensory perspectives is fundamental to the ecological validity of cultural heritage fieldwork and the preservation of heritage acoustics. Auditory distance cues, which enable and constrain sonic communication, relate to proxemics, contextualized understandings of distance relationships that are fundamental to human social interactions. We propose that source–receiver locations in aural heritage measurements should be selected to represent a comprehensive range of proxemics according to site-contextualized spatial-use scenarios, and we identify and compare acoustical metrics for auditory distance cues from acoustical fieldwork we conducted using this strategy in three contrasting case-study heritage sites. This conceptual shift from architectural acoustical sampling to aural heritage sampling prioritizes culturally and physically plausible human auditory/sound-sensing perspectives and relates them to spatial proxemics as scaled architecturally.},

keywords = {},

pubstate = {published},

tppubtype = {article}

}

@article{howie2020effect,

title = {Effect of Skill Level on Listener Performance in 3D Audio Evaluation},

author = {Will Howie and Denis Martin and Sungyoung Kim and Toru Kamekawa and Richard King},

doi = {https://doi.org/10.17743/jaes.2020.0050},

year  = {2020},

date = {2020-09-01},

urldate = {2020-09-01},

journal = {Journal of the Audio Engineering Society},

volume = {68},

issue = {9},

pages = {628-637},

abstract = {A previous experiment (Part 1) found that, within the context of 3D audio evaluation, both audio production experience and musical training were significant predictors of listener consistency in making preference or attribute rating judgments of stimuli. In that study, 72 subjects ranging from highly experienced to na ¨ive listeners evaluated an excerpt of orchestral music captured by three different 3D music-recording techniques. Using the same data set from Part 1, the current study (Part 2) examines whether the results of skilled listeners can be generalized to the larger population of unskilled listeners within the context of 3D audio evaluation. Results show no significant changes in the rank order of recording technique attribute ratings or preferences as a function of listener skill. Results also show that using highly skilled participants will result in gains in sta- tistical power. This allows for the detection of subtler differences between stimuli or greater efficiency in the number of trials needed to achieve a significant result.},

keywords = {},

pubstate = {published},

tppubtype = {article}

}

@article{SungyoungKim2020E19222,

title = {Do we hear differently? Comparing spatial hearing between East-Asian and North-American listeners},

author = {Sungyoung Kim},

doi = {10.1250/ast.41.129},

issn = {1347-5177},

year  = {2020},

date = {2020-01-01},

urldate = {2020-01-01},

journal = {Acoustical Science and Technology},

volume = {41},

number = {1},

pages = {129-133},

abstract = {This paper reviews previous experimental studies on the relationship between a listener's cultural framework and auditory perception of an enclosed space. Cultural influence on auditory perception of noise and music has been assessed through a range of studies. Is it same for spatial hearing? When we enter to a space, would a particular cultural framework influence on understanding of the corresponding auditory environment? As physical buildings and enclosures reflect architectural and visual heritage, the auditory environment of an enclosed space also represents a unique and distinct heritage where people have interacted with and shaped their culture. When two listener groups (East-Asian and North-American) compared a reproduced field, previous findings show that (1) the semantic value of a same descriptor was distinctly different for two groups, and (2) there was an inverse relationship between the area of a personal space and size of a desired (preferred) auditory environment. With the advance of virtual reality (VR) technology, listeners can enter any auditory environment ubiquitously. Therefore, researchers and developers in the field should consider multiple user groups and the role of cultural framework in virtual environments.},

keywords = {},

pubstate = {published},

tppubtype = {article}

}