m1ts0s
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"Then a weird thing happens, in the "Gestalt determining stage" the brain determines the location of the source, then removes all the tonal, level, and timing information. It then passes the now cleaned up signal on to become the perceived auditory event. Said another way, the brain knows how to remove all effects of the pinna and body reflections so that you perceive the sound as it actually is, rather than hearing what you're actually hearing."
'Simple loudness based calibration does not replicate the original complex outer ear transfer functions given in the reference configuration.
As shown in the previous sections, this is evident also for spectrum level based calibration targeting to simulate what a listener hears from a high-quality multichannel loudspeaker system in a reference listening room (so-called in-room equalization [19]). The result is in-head locatedness, which means that certain ear signal spectrum characteristics generated from individual loudspeakers in the room do not contribute to the spatial perception process but instead degrade colour neutrality.'
"His conclusion is that the only way to make very accurate studio monitor headphones is to first tune the headphone to the diffuse field response—as it delivers the least linear distortion in the transducer/ear interface and will be able to most accurately play an incoming signal for the ear. Then, using digital signal processing (DSP), create a fake room using binaural room impulse response information for a high acoustic quality listening room. Then create virtual speakers in that room to play the sound. Then add a head tracker and a bunch of HRTF data so that you can move your head normally and hear the cues change—because your brain won't be reliably fooled if you don't. Research shows that if you do all these things, only then can you properly perceive tonal neutrality on headphones."
http://www.innerfidelity.com/content/aes-headphone-technology-conference-highlight-paper
'Simple loudness based calibration does not replicate the original complex outer ear transfer functions given in the reference configuration.
As shown in the previous sections, this is evident also for spectrum level based calibration targeting to simulate what a listener hears from a high-quality multichannel loudspeaker system in a reference listening room (so-called in-room equalization [19]). The result is in-head locatedness, which means that certain ear signal spectrum characteristics generated from individual loudspeakers in the room do not contribute to the spatial perception process but instead degrade colour neutrality.'
"His conclusion is that the only way to make very accurate studio monitor headphones is to first tune the headphone to the diffuse field response—as it delivers the least linear distortion in the transducer/ear interface and will be able to most accurately play an incoming signal for the ear. Then, using digital signal processing (DSP), create a fake room using binaural room impulse response information for a high acoustic quality listening room. Then create virtual speakers in that room to play the sound. Then add a head tracker and a bunch of HRTF data so that you can move your head normally and hear the cues change—because your brain won't be reliably fooled if you don't. Research shows that if you do all these things, only then can you properly perceive tonal neutrality on headphones."
http://www.innerfidelity.com/content/aes-headphone-technology-conference-highlight-paper
