Whether you’re mixing for film in 5.1 surround or Dolby Atmos, it’s important to consider a key element of human auditory perception: localization. Localization is the process by which we identify the source of a sound. We may not realize it, but each time we sit down to watch a movie or TV-show, our brains are keeping track of where the sound elements are coming from or headed towards, like spaceships flying overhead, or an army of horses charging in the distance. It is part of the mixer’s role to blend the auditory environment of a show so that listeners can accurately process the location of sounds without distraction or confusion. Here are some psycho-acoustical cues to consider when mixing spatial audio.
A few weeks ago, we wrote a blog post about how the human ear works, and that inspired me to dive deeper into the section about the brain; specifically, psychoacoustics. The study of psychoacoustics, as defined by Merriam-Webster, is “a branch of science dealing with the perception of sound, and the sensations produced by sounds.” Essentially, psychoacoustics is how your brain perceives sound, and if used correctly, it can be an incredibly powerful tool in a sound designer’s arsenal.
The study of the interaction between how our ears and brain respond to sound is called psychoacoustics or sound perception. As audience members, we can perceive a sound as being a pleasing experience or not and anywhere in between. But, this perception isn't formed merely by using our ears. The connections between our ears, brain, and nervous system let us feel the effects of sound with our entire body. This concept of physically hearing and psychologically perceiving sound helps to connect us to the television show, movie, or video game we might be enjoying.
