10. SOCIAL PERCEPTION OF 3D AUDIO
Subjective preference tests without video drastically
show the preeminence of stereo and Surround, and even
mono, over 3D audio representations. Most consumers
are highly unaware about spatial audio degradation, to
the extent that preference is given to earphone signals
with in-head localization over signals with correct
externalization! At low bitrates, this effect even seems
to apply for subjective 3D audio testing, as timbre issues
become primordial with low-bitrate base audio codecs,
see below.
This tendency is opposite with more complex visual
cues: a study by Faller and Winkler reports that “The
more complex the content and the higher the total
bitrate budget, the more bits should be allocated to
audio.” [22] Modern cinema and broadcasting content
sets high standards in immersion, which mobile devices
and small screens cannot deliver – unless 3D audio is 
present. In particular, consumer behavior has changed
with interactive games showing numerous sound objects
with accurate localization. Paul Valéry has imagined
this paradigm shift already in the forties of the last
century: “Toutefois divers indices peuvent faire
craindre que l’accroissement d’intensité et de précision,
et l’état de désordre permanent dans les perceptions et
les esprits qu’engendrent les puissantes nouveautés qui
ont transformé la vie de l’homme, ne rendent sa
sensibilité de plus en plus obtuse et son intelligence
moins déliée qu’elle ne le fut.” [23]. Evidently our
perceptual system is subject to unconscious education,
as was reported from autochthonous populations
without contact to 19th century European or American
societies – unable to recognize a person from a
daguerreotype. In the same manner, as an expert listener
is continuously trained by being exposed to content, so
is the consumer. Woody Allen, in order not to distract
his audience, has produced mono throughout his career,
whilst the number of immersive cinema installations
explodes all over the world, in particular attracting a
young audience. Naturally, immersion on mobile
devices all of a sudden has captured huge industry
interest.
Most electroacoustic products likewise underwent a
significant change through audio coding. To the audio
expert, a constant “top-down” awareness of bitrate is
intrinsic. The consumer’s awareness contrarily is
focused on paid licenses. Docking stations, wireless
loudspeakers and automotive playback are three
examples of a “bottom-up” bitrate unawareness of the
general public – calling for technical solutions, which
enable high-end home theatres and smart devices
solutions at the same time, most likely in the bitrate
range of current 5.1 Surround, namely 256kb/s.