Robert Sazdov - Academia.edu (original) (raw)
Papers by Robert Sazdov
2023 Immersive and 3D Audio: from Architecture to Automotive (I3DA)
Molitva by Giuseppe Torre (Pointing-at data glove), Robert Sazdov (live electronics) and Dorota K... more Molitva by Giuseppe Torre (Pointing-at data glove), Robert Sazdov (live electronics) and Dorota Koncezwska (voice) 2009 Molitva is a composition for voice, live electronics, and gestural control Pointing-at glove. The main music theme is a revisiting of traditional macedonian chants now mixed with electronics. Technical Description:the performance investigate the use of the Pointing-at data glove in a live performance win which multiple players/performers are involved. In order to enhance the cause-effect links between gestures and sounds each performer was allocated a specific range of sonic characteristics to work with. In doing this, the data glove worked exclusively with granular sounds and their live manipulation by hand gestures. Performed at: Re:New Festival - Copenhaghen (Denmark) 2009, New Interfaces for Musical Expression 2009 - Pittsburgh (USA), SOUNDINGS - Limerick (IRL) 2009PUBLISHEDpeer-reviewe
Mani by Robert Sazdov (laptop and live electronics) and Giuseppe Torre (Pointing-at data glove) 2... more Mani by Robert Sazdov (laptop and live electronics) and Giuseppe Torre (Pointing-at data glove) 2010 A duo performance for Pointing-at glove and live electronics. Theme is concerned with social inequalities. Mani means hands in Italian but it also sounds like the word "money" in English. Our future is in few people\u27 s hands. Do you feel safe?Technical Description: This performance investigates the use of hand gestures for the creation and manipulation of sounds in real-time for a live performance. Gestures vocabulary is built according to theatrical features that reconnect to the underlying storyboard presented in the performance. This is done so that the cause- effect links between gestures and sounds can be re-established within a context that helps to classify the gesture in its metaphorical context. performed at: New Interfaces for Musical Expression Conference 2010 - Sydney - AustraliaPUBLISHEDnon-peer-reviewe
non-peer-reviewedMolitva by Giuseppe Torre (Pointing-at data glove), Robert Sazdov (live electron... more non-peer-reviewedMolitva by Giuseppe Torre (Pointing-at data glove), Robert Sazdov (live electronics) and Dorota Koncezwska (voice) 2009 Molitva is a composition for voice, live electronics, and gestural control Pointing-at glove. The main music theme is a revisiting of traditional macedonian chants now mixed with electronics. Technical Description:the performance investigate the use of the Pointing-at data glove in a live performance win which multiple players/performers are involved. In order to enhance the cause-effect links between gestures and sounds each performer was allocated a specific range of sonic characteristics to work with. In doing this, the data glove worked exclusively with granular sounds and their live manipulation by hand gestures. Performed at: Re:New Festival - Copenhaghen (Denmark) 2009, New Interfaces for Musical Expression 2009 - Pittsburgh (USA), SOUNDINGS - Limerick (IRL) 2009PUBLISHEDpeer-reviewe
Journal of the Audio Engineering Society, 2017
Hyper-compressed popular music is the product of a behavior associated with the over-use of dynam... more Hyper-compressed popular music is the product of a behavior associated with the over-use of dynamic range processing in an effort to gain a competitive advantage in music production. This behavior is unnecessary given the introduction of loudness normalization algorithms across the industry and has been denounced by mastering engineers as generating audible sound quality artifacts. However, the audibility of these sound quality artifacts to mastering engineers has not been examined. This study probes this question using an ABX listening experiment with 20 mastering engineers. On average, mastering engineers correctly discriminated 17 out of 24 conditions suggesting that the sound quality artifacts generated by hyper-compression are difficult to perceive. The findings in the study suggest that audibility depends on the Crest Factor (CF) of the music rather than the amount of CF reduction thus proposing the existence of a threshold of audibility. Further work focusing on education initiatives are offered.
ABSTRACT Composers of electroacoustic music have engaged with 3D sound since the first performanc... more ABSTRACT Composers of electroacoustic music have engaged with 3D sound since the first performances of these works in the 1950s. Currently, the majority of electroacostic compositions continue to be presented in 2D. Although human auditory perception is 3D, music composition has not adequately exploited the creative possibilities of this dimension. It is argued that ecologically valid perceptual experiments are required when attempting to formulate compositional techniques for electroacoustic music composition. Further, the paper presents a novel research method for the perceptual evaluation of 3D multi-channel electroacoustic music. The spatial attributes of envelopment, spatial clarity, and engulfment, are employed to evaluate composed multi-channel 3D sound executed within an ecologically valid concert hall environment. Results focus on the perceptual rating of the spatial attributes, envelopment and the proposed 3D unique attribute, engulfment. The results for Experiment 1 suggest that engulfment is a 3D unique spatial attribute and perceptual differs to envelopment in 3D spatial scenes.
non-peer-reviewedMani by Robert Sazdov (laptop and live electronics) and Giuseppe Torre (Pointing... more non-peer-reviewedMani by Robert Sazdov (laptop and live electronics) and Giuseppe Torre (Pointing-at data glove) 2010 A duo performance for Pointing-at glove and live electronics. Theme is concerned with social inequalities. Mani means hands in Italian but it also sounds like the word "money" in English. Our future is in few people' s hands. Do you feel safe?Technical Description: This performance investigates the use of hand gestures for the creation and manipulation of sounds in real-time for a live performance. Gestures vocabulary is built according to theatrical features that reconnect to the underlying storyboard presented in the performance. This is done so that the cause- effect links between gestures and sounds can be re-established within a context that helps to classify the gesture in its metaphorical context. performed at: New Interfaces for Musical Expression Conference 2010 - Sydney - AustraliaPUBLISHEDnon-peer-reviewe
Proceedings of the SMC Conferences, Sep 14, 2014
The paper reports on an experiment designed to examine the perception of the spatial attributes o... more The paper reports on an experiment designed to examine the perception of the spatial attributes of envelopment and engulfment in spatial techniques used in multichannel electroacoustic music. Four spatial techniques were examined, they were: (i) Timbre Spatialisation [1], (ii) Spectral Splitting [2], (iii) Amplitude Point Source [3], and the proposed (iv) Dynamic Spectral Spatialisation technique. The multi-channel loudspeaker configuration consisted of 16 loudspeakers, eight horizontal and eight elevated. The experiment was design whereby the four above mentioned spatial techniques were presented in three conditions: (i) Horizontal only, (ii) Elevated only, and (iii) Horizontal and Elevated, referred to as Three Dimensional (3D), loudspeaker configurations. The experiment took place in the Spatialisation Auditory Display Environment (SpADE) at the University of Limerick and has physical attributes that conform to the ITU-R BS.1116-1 listening room standard [4]. Each participant ind...
The earliest mainstream examples of the first-person shooter game can be traced to the early to m... more The earliest mainstream examples of the first-person shooter game can be traced to the early to mid 1990s, during which one company above most others cultivated a genre that continues to dominant the global video games market. id Software was founded by John Carmack and John Romero, and of all their video games it is perhaps the 1993 DOOM that has been most influential and celebrated. Advancements in technological game development and creativity afforded DOOM exhilarating gameplay, killing monstrous enemies, spurred on by a synthesized, metal-infused soundtrack by Bobby Prince. The 2016 reboot of the serious, similarly titled DOOM, had one of the strongest legacies to live up to in the gaming world. To both respect the series’ lineage and give this new game a distinguishing identity, composer Mick Gordon developed unique technical and musical processes based on a philosophy of energy passing through objects, and so doing, corrupt them.
Journal of The Audio Engineering Society, 2014
The introduction of loudness normalization has led some commentators to declare that the loudness... more The introduction of loudness normalization has led some commentators to declare that the loudness wars are over. However, factors contributing to a preference for dynamic range compression have not been removed. The research presented here investigates the role of long-term memory in sound quality judgments. Factors influencing preference judgments of dynamic range compression are discussed along with suggestions of further research areas. Research is presented that indicates that an objective measure of dynamic range will facilitate a greater understanding of how dynamic range compression affects individual sound quality attributes.
This paper considers the use of subwoofers in a multichannel loudspeaker configuration, as there ... more This paper considers the use of subwoofers in a multichannel loudspeaker configuration, as there is a current trend to utilise this dedicated low frequency speaker in multi-channel electroacoustic music. Research into perception of subwoofer localisation is reviewed, establishing that there has been relatively little research investigating subwoofer perception in a concert-hall environment. The paper presents the results of an ecologically valid subwoofer localisation experiment run in a concert-hall environment, the results of which suggest that azimuth localisation is possible, however elevation localisation is not. The possible implications of the experiment for proposed surround-sound multi-channel standards and for multi-channel electroacoustic music are discussed.
MOLITVA is Macedonian for prayer. Prayer also intended as desire, plea. The work incorporates man... more MOLITVA is Macedonian for prayer. Prayer also intended as desire, plea. The work incorporates manipulations of Macedonian sacred chants and songs. Musically, the piece builds on melodic, harmonic and rhythmic elements found in the Macedonian sacred and secular music. This performance has been written for Solo Voice, Live-Electronics, 3-D Setup of Speakers and the Pointing-At WIMU / 6-DOF Glove developed by the Tyndall Institute of Cork and The Interaction Design Centre at the University of Limerick. “POINTING-AT” is a new tool for gesture control of sound in a 3D space, sound browsing and manipulation. It is built around our 25mm WIMU which enables 6-DOF and it consists of three single-axis gyroscopes, ADXRS150, two dual axis accelerometers, ADXL202 both from Analog Devices, and two dual axis magnetometers, HMC1052L from Honeywell. The ADC is a 12-bit AD7490 from Analog Devices. The ADC converter has a Serial Peripheral Interface (SPI) that connects to an ATMEL microcontroller. The ...
Journal of The Audio Engineering Society, 2015
Two listening experiments were conducted to assess: (i) the effect of program material on six sou... more Two listening experiments were conducted to assess: (i) the effect of program material on six sound quality dimensions and (ii) the effect of 20 dB of compression limiting on distraction. Thirty-five participants completed two experiments using a MuSHRA style interface. The experimental results demonstrate that program material significantly affected dimension and distraction ratings. Dimension ratings were influenced by prior listening experience while distraction ratings related to audible artifacts in different program material. Program material from the same artist was rated similarly for distraction in two-thirds of the dimensions suggesting a possible correlation between production aesthetics and audible artifacts. It is concluded that validating program material is a necessary precaution to avoid distracting perceptual cues generated by the process of dynamic range compression.
The paper presents an ecologically valid experiment design for a perceptual study of electroacous... more The paper presents an ecologically valid experiment design for a perceptual study of electroacoustic music. This involves the perceptual evaluation of 2D and 3D multi-channel audio produced from established spatial techniques. The spatial attributes of envelopment and engulfment are used to determine the perceptual ratings of presented 2D and 3D audio produced from identified spatial techniques. It is hoped that by undertaking perceptual testing, specific aesthetic observations made by composers regarding the effect that their spatial techniques produce can be quantified in established spatial terminology.
This paper reports on an experiment discussed in [16] as a 'further research' recommendation. The... more This paper reports on an experiment discussed in [16] as a 'further research' recommendation. Therefore, the current experiment utilised the same experimental equipment, setup , and subwoofer stimuli stated in [16] Also, the experiment refers to [15] for the definition, discussion, as well as the creation of frequency ranges, musical layers, and spatial scenes. 2 This experiment tests only one subwoofer, as it was not know what the result would be in a concert hall environment, since studies have only taken place in either listening rooms or anechoic chambers. Further and as will be discussed below, it was not known how subwoofer frequencies would interact with higher (non-subwoofer) frequencies in a multi-channel configuration as previous studies have not tested this combination.
Through the context of the mixed-reality performance work ‘IMMERSE’, this paper discusses the use... more Through the context of the mixed-reality performance work ‘IMMERSE’, this paper discusses the use of game engines as a practical medium for the creation of audio-visual art. The game engine’s metaphorical and spatial consistency with reality, flexible deployment options and capacity for high-fidelity graphics make them a perfect tool for constructing the artworks of the twenty-first century.
This paper considers the use of subwoofers in a multichannel loudspeaker configuration. Subwoofer... more This paper considers the use of subwoofers in a multichannel loudspeaker configuration. Subwoofers are regularly used in multi-channel electroacoustic music because they are generally considered to contribute to spatial attributes. Research in the perception of spatial attributes of subwoofers is reviewed, establishing that there is little research in the perception of spatial attributes of subwoofer perception in a concert-hall environment. Further, literature is lacking in perceptual research of the effects of combined use of subwoofers and loudspeakers on spatial attributes. This paper reports an experiment concerning judgments of the spatial attributes envelopment, spatial clarity and engulfment using a subwoofer within a multi-channel loudspeaker configuration run in a concert-hall environment.
2023 Immersive and 3D Audio: from Architecture to Automotive (I3DA)
Molitva by Giuseppe Torre (Pointing-at data glove), Robert Sazdov (live electronics) and Dorota K... more Molitva by Giuseppe Torre (Pointing-at data glove), Robert Sazdov (live electronics) and Dorota Koncezwska (voice) 2009 Molitva is a composition for voice, live electronics, and gestural control Pointing-at glove. The main music theme is a revisiting of traditional macedonian chants now mixed with electronics. Technical Description:the performance investigate the use of the Pointing-at data glove in a live performance win which multiple players/performers are involved. In order to enhance the cause-effect links between gestures and sounds each performer was allocated a specific range of sonic characteristics to work with. In doing this, the data glove worked exclusively with granular sounds and their live manipulation by hand gestures. Performed at: Re:New Festival - Copenhaghen (Denmark) 2009, New Interfaces for Musical Expression 2009 - Pittsburgh (USA), SOUNDINGS - Limerick (IRL) 2009PUBLISHEDpeer-reviewe
Mani by Robert Sazdov (laptop and live electronics) and Giuseppe Torre (Pointing-at data glove) 2... more Mani by Robert Sazdov (laptop and live electronics) and Giuseppe Torre (Pointing-at data glove) 2010 A duo performance for Pointing-at glove and live electronics. Theme is concerned with social inequalities. Mani means hands in Italian but it also sounds like the word "money" in English. Our future is in few people\u27 s hands. Do you feel safe?Technical Description: This performance investigates the use of hand gestures for the creation and manipulation of sounds in real-time for a live performance. Gestures vocabulary is built according to theatrical features that reconnect to the underlying storyboard presented in the performance. This is done so that the cause- effect links between gestures and sounds can be re-established within a context that helps to classify the gesture in its metaphorical context. performed at: New Interfaces for Musical Expression Conference 2010 - Sydney - AustraliaPUBLISHEDnon-peer-reviewe
non-peer-reviewedMolitva by Giuseppe Torre (Pointing-at data glove), Robert Sazdov (live electron... more non-peer-reviewedMolitva by Giuseppe Torre (Pointing-at data glove), Robert Sazdov (live electronics) and Dorota Koncezwska (voice) 2009 Molitva is a composition for voice, live electronics, and gestural control Pointing-at glove. The main music theme is a revisiting of traditional macedonian chants now mixed with electronics. Technical Description:the performance investigate the use of the Pointing-at data glove in a live performance win which multiple players/performers are involved. In order to enhance the cause-effect links between gestures and sounds each performer was allocated a specific range of sonic characteristics to work with. In doing this, the data glove worked exclusively with granular sounds and their live manipulation by hand gestures. Performed at: Re:New Festival - Copenhaghen (Denmark) 2009, New Interfaces for Musical Expression 2009 - Pittsburgh (USA), SOUNDINGS - Limerick (IRL) 2009PUBLISHEDpeer-reviewe
Journal of the Audio Engineering Society, 2017
Hyper-compressed popular music is the product of a behavior associated with the over-use of dynam... more Hyper-compressed popular music is the product of a behavior associated with the over-use of dynamic range processing in an effort to gain a competitive advantage in music production. This behavior is unnecessary given the introduction of loudness normalization algorithms across the industry and has been denounced by mastering engineers as generating audible sound quality artifacts. However, the audibility of these sound quality artifacts to mastering engineers has not been examined. This study probes this question using an ABX listening experiment with 20 mastering engineers. On average, mastering engineers correctly discriminated 17 out of 24 conditions suggesting that the sound quality artifacts generated by hyper-compression are difficult to perceive. The findings in the study suggest that audibility depends on the Crest Factor (CF) of the music rather than the amount of CF reduction thus proposing the existence of a threshold of audibility. Further work focusing on education initiatives are offered.
ABSTRACT Composers of electroacoustic music have engaged with 3D sound since the first performanc... more ABSTRACT Composers of electroacoustic music have engaged with 3D sound since the first performances of these works in the 1950s. Currently, the majority of electroacostic compositions continue to be presented in 2D. Although human auditory perception is 3D, music composition has not adequately exploited the creative possibilities of this dimension. It is argued that ecologically valid perceptual experiments are required when attempting to formulate compositional techniques for electroacoustic music composition. Further, the paper presents a novel research method for the perceptual evaluation of 3D multi-channel electroacoustic music. The spatial attributes of envelopment, spatial clarity, and engulfment, are employed to evaluate composed multi-channel 3D sound executed within an ecologically valid concert hall environment. Results focus on the perceptual rating of the spatial attributes, envelopment and the proposed 3D unique attribute, engulfment. The results for Experiment 1 suggest that engulfment is a 3D unique spatial attribute and perceptual differs to envelopment in 3D spatial scenes.
non-peer-reviewedMani by Robert Sazdov (laptop and live electronics) and Giuseppe Torre (Pointing... more non-peer-reviewedMani by Robert Sazdov (laptop and live electronics) and Giuseppe Torre (Pointing-at data glove) 2010 A duo performance for Pointing-at glove and live electronics. Theme is concerned with social inequalities. Mani means hands in Italian but it also sounds like the word "money" in English. Our future is in few people' s hands. Do you feel safe?Technical Description: This performance investigates the use of hand gestures for the creation and manipulation of sounds in real-time for a live performance. Gestures vocabulary is built according to theatrical features that reconnect to the underlying storyboard presented in the performance. This is done so that the cause- effect links between gestures and sounds can be re-established within a context that helps to classify the gesture in its metaphorical context. performed at: New Interfaces for Musical Expression Conference 2010 - Sydney - AustraliaPUBLISHEDnon-peer-reviewe
Proceedings of the SMC Conferences, Sep 14, 2014
The paper reports on an experiment designed to examine the perception of the spatial attributes o... more The paper reports on an experiment designed to examine the perception of the spatial attributes of envelopment and engulfment in spatial techniques used in multichannel electroacoustic music. Four spatial techniques were examined, they were: (i) Timbre Spatialisation [1], (ii) Spectral Splitting [2], (iii) Amplitude Point Source [3], and the proposed (iv) Dynamic Spectral Spatialisation technique. The multi-channel loudspeaker configuration consisted of 16 loudspeakers, eight horizontal and eight elevated. The experiment was design whereby the four above mentioned spatial techniques were presented in three conditions: (i) Horizontal only, (ii) Elevated only, and (iii) Horizontal and Elevated, referred to as Three Dimensional (3D), loudspeaker configurations. The experiment took place in the Spatialisation Auditory Display Environment (SpADE) at the University of Limerick and has physical attributes that conform to the ITU-R BS.1116-1 listening room standard [4]. Each participant ind...
The earliest mainstream examples of the first-person shooter game can be traced to the early to m... more The earliest mainstream examples of the first-person shooter game can be traced to the early to mid 1990s, during which one company above most others cultivated a genre that continues to dominant the global video games market. id Software was founded by John Carmack and John Romero, and of all their video games it is perhaps the 1993 DOOM that has been most influential and celebrated. Advancements in technological game development and creativity afforded DOOM exhilarating gameplay, killing monstrous enemies, spurred on by a synthesized, metal-infused soundtrack by Bobby Prince. The 2016 reboot of the serious, similarly titled DOOM, had one of the strongest legacies to live up to in the gaming world. To both respect the series’ lineage and give this new game a distinguishing identity, composer Mick Gordon developed unique technical and musical processes based on a philosophy of energy passing through objects, and so doing, corrupt them.
Journal of The Audio Engineering Society, 2014
The introduction of loudness normalization has led some commentators to declare that the loudness... more The introduction of loudness normalization has led some commentators to declare that the loudness wars are over. However, factors contributing to a preference for dynamic range compression have not been removed. The research presented here investigates the role of long-term memory in sound quality judgments. Factors influencing preference judgments of dynamic range compression are discussed along with suggestions of further research areas. Research is presented that indicates that an objective measure of dynamic range will facilitate a greater understanding of how dynamic range compression affects individual sound quality attributes.
This paper considers the use of subwoofers in a multichannel loudspeaker configuration, as there ... more This paper considers the use of subwoofers in a multichannel loudspeaker configuration, as there is a current trend to utilise this dedicated low frequency speaker in multi-channel electroacoustic music. Research into perception of subwoofer localisation is reviewed, establishing that there has been relatively little research investigating subwoofer perception in a concert-hall environment. The paper presents the results of an ecologically valid subwoofer localisation experiment run in a concert-hall environment, the results of which suggest that azimuth localisation is possible, however elevation localisation is not. The possible implications of the experiment for proposed surround-sound multi-channel standards and for multi-channel electroacoustic music are discussed.
MOLITVA is Macedonian for prayer. Prayer also intended as desire, plea. The work incorporates man... more MOLITVA is Macedonian for prayer. Prayer also intended as desire, plea. The work incorporates manipulations of Macedonian sacred chants and songs. Musically, the piece builds on melodic, harmonic and rhythmic elements found in the Macedonian sacred and secular music. This performance has been written for Solo Voice, Live-Electronics, 3-D Setup of Speakers and the Pointing-At WIMU / 6-DOF Glove developed by the Tyndall Institute of Cork and The Interaction Design Centre at the University of Limerick. “POINTING-AT” is a new tool for gesture control of sound in a 3D space, sound browsing and manipulation. It is built around our 25mm WIMU which enables 6-DOF and it consists of three single-axis gyroscopes, ADXRS150, two dual axis accelerometers, ADXL202 both from Analog Devices, and two dual axis magnetometers, HMC1052L from Honeywell. The ADC is a 12-bit AD7490 from Analog Devices. The ADC converter has a Serial Peripheral Interface (SPI) that connects to an ATMEL microcontroller. The ...
Journal of The Audio Engineering Society, 2015
Two listening experiments were conducted to assess: (i) the effect of program material on six sou... more Two listening experiments were conducted to assess: (i) the effect of program material on six sound quality dimensions and (ii) the effect of 20 dB of compression limiting on distraction. Thirty-five participants completed two experiments using a MuSHRA style interface. The experimental results demonstrate that program material significantly affected dimension and distraction ratings. Dimension ratings were influenced by prior listening experience while distraction ratings related to audible artifacts in different program material. Program material from the same artist was rated similarly for distraction in two-thirds of the dimensions suggesting a possible correlation between production aesthetics and audible artifacts. It is concluded that validating program material is a necessary precaution to avoid distracting perceptual cues generated by the process of dynamic range compression.
The paper presents an ecologically valid experiment design for a perceptual study of electroacous... more The paper presents an ecologically valid experiment design for a perceptual study of electroacoustic music. This involves the perceptual evaluation of 2D and 3D multi-channel audio produced from established spatial techniques. The spatial attributes of envelopment and engulfment are used to determine the perceptual ratings of presented 2D and 3D audio produced from identified spatial techniques. It is hoped that by undertaking perceptual testing, specific aesthetic observations made by composers regarding the effect that their spatial techniques produce can be quantified in established spatial terminology.
This paper reports on an experiment discussed in [16] as a 'further research' recommendation. The... more This paper reports on an experiment discussed in [16] as a 'further research' recommendation. Therefore, the current experiment utilised the same experimental equipment, setup , and subwoofer stimuli stated in [16] Also, the experiment refers to [15] for the definition, discussion, as well as the creation of frequency ranges, musical layers, and spatial scenes. 2 This experiment tests only one subwoofer, as it was not know what the result would be in a concert hall environment, since studies have only taken place in either listening rooms or anechoic chambers. Further and as will be discussed below, it was not known how subwoofer frequencies would interact with higher (non-subwoofer) frequencies in a multi-channel configuration as previous studies have not tested this combination.
Through the context of the mixed-reality performance work ‘IMMERSE’, this paper discusses the use... more Through the context of the mixed-reality performance work ‘IMMERSE’, this paper discusses the use of game engines as a practical medium for the creation of audio-visual art. The game engine’s metaphorical and spatial consistency with reality, flexible deployment options and capacity for high-fidelity graphics make them a perfect tool for constructing the artworks of the twenty-first century.
This paper considers the use of subwoofers in a multichannel loudspeaker configuration. Subwoofer... more This paper considers the use of subwoofers in a multichannel loudspeaker configuration. Subwoofers are regularly used in multi-channel electroacoustic music because they are generally considered to contribute to spatial attributes. Research in the perception of spatial attributes of subwoofers is reviewed, establishing that there is little research in the perception of spatial attributes of subwoofer perception in a concert-hall environment. Further, literature is lacking in perceptual research of the effects of combined use of subwoofers and loudspeakers on spatial attributes. This paper reports an experiment concerning judgments of the spatial attributes envelopment, spatial clarity and engulfment using a subwoofer within a multi-channel loudspeaker configuration run in a concert-hall environment.