Sitting near walls creates repetition-pitch coloration in perceived sound

Evidence

Because of the precedence effect, this reflection dominates, and the replayed sound is perceived as coming from a space the size of the listening room, which is clearly undesirable. What is required is a means of making the sound from the loudspeakers appear as if it is coming from a larger space by suppressing the early reflections from the nearby walls, as shown in Figure 7. — David M. Howard, Jamie Angus, Acoustics and Psychoacoustics, 2283 (#expands, via linked claim)

When we listen to a note played on a musical instrument and we perceive it as having a clear unambiguous musical pitch, this is because that instrument produces an acoustic pressure wave which repeats regularly. … Each section that repeats is known as a “cycle” and the time for which each cycle lasts is known as the “fundamental period” or “period” of the waveform. The number of cycles which occur in one second gives the fundamental frequency of the note in hertz (or Hz). The fundamental frequency is often notated as “f0”, pronounced “F zero” or “F nought”, a practice which will be used throughout the rest of this book. — David Howard, Jamie Angus, coustics and Psychoacoustics, 774 (#expands, via linked claim)

Categorization

• XREF: connects to: Early wall reflections pin perceived sound space to room size — David M. Howard, Jamie Angus, Acoustics and Psychoacoustics, 2283; Moving sources make reflected-sound comb-filtering audible as pitch rather than mere colouration; Near-wall listening positions create early strong rear reflections (+5 more)

Related

• Near-wall listening positions create early strong rear reflections (similarity 0.88)
• A small listening room’s first reflections mask the recorded acoustic space (similarity 0.86)
• Early wall reflections pin perceived sound space to room size (similarity 0.86)
• Sitting near walls creates frequency notches from delayed reflections (similarity 0.85)
• Early reflections must be suppressed about 15 dB to stay inaudible (similarity 0.85)
• Delayed sounds arriving from different angles are perceived as spaciousness, not comb filtering (similarity 0.84)
• Binaural hearing transforms in-room comb filtering into perceived spaciousness (similarity 0.84)
• Sitting close to a rear wall creates early strong reflections that corrupt perceived sound (similarity 0.83)
• Listening seats placed near rear walls create early strong reflections that degrade imaging (similarity 0.83)
• Room boundary reflections are the second loudest sounds a listener hears (similarity 0.83)
• The precedence effect reduces masking from reflections in rooms (similarity 0.83)
• Early side-wall reflections range neutral to beneficial with well-designed loudspeakers (similarity 0.82)
• Removing conflicting reflections improves perception of low-level audio detail (similarity 0.82)
• Reflections that appear as destructive comb filtering actually create perceived spaciousness. (similarity 0.82)
• Room acoustics requires modeling direct sound then early reflections (similarity 0.82)

Broader Connections

• Early wall reflections pin perceived sound space to room size #expands (0.85) — David M. Howard, Jamie Angus, Acoustics and Psychoacoustics, 2283
• Echoed sounds spaced 1-10 ms generate a perceived pitch of 100-1000 Hz #expands (0.85)
• Moving sources make reflected-sound comb-filtering audible as pitch rather than mere colouration #expands (0.80)
• Clear pitch perception depends on periodic repetition of the pressure wave #expands (0.80) — David Howard, Jamie Angus, coustics and Psychoacoustics, 774
• Delayed sounds arriving from different angles are perceived as spaciousness, not comb filtering #complicates (0.80) — , Toole, Floyd E - Sound reproduction-…, 729
• Near-wall listening positions create early strong rear reflections #corroborates (0.75)
• Audible effects of reflections require spectral comparison across time-domain spikes #qualifies (0.75)
• Binaural hearing transforms in-room comb filtering into perceived spaciousness #expands (0.75)