
Frequently asked questions about KEMAR HRTF data.

Originally created 5/24/95. Last revised 1/27/97.

Bill Gardner (billg@media.mit.edu) and Keith Martin (kdm@media.mit.edu)
Perceptual Computing Group
MIT Media Lab, rm. E15-401
20 Ames Street
Cambridge MA 02139

If you haven't done so yet, please read the documentation "hrtfdoc"
regarding the KEMAR HRTF data. The documentation describes what the
data is, how it was measured, and how to download it. However, since
the original documentation was written we have added a number of files
to this archive, including the diffuse-field equalized data and the
3Daudio program. These are not described in "hrtfdoc".

List of questions:

Q1. An error occurs when the data is unpacked, or all the files do not 
show up when untar'd?
Q2. When I telnet to "sound.media.mit.edu", I can't login as anonymous?
Q3. How do I read the data?
Q4. How do I read the data in MATLAB?
Q5. How do I read the data on a Macintosh? Can I convert to AIFF files?
Q5a. How do I read the data on a PC? What are ".tar.Z" files and ".ps.Z"
files?
Q6. The maximum values in the data do not agree with the documentation?
Q7. Why are the headphone and speaker impulse responses 16383 samples 
long?
Q8. How was KEMAR configured?
Q9. Addresses/numbers for Knowles and Etymotic?
Q10. Why did we use two different pinnae?
Q11. Is the interaural time delay factored out of the data?
Q12. What causes the deep notches in the spectra in the 9-10 kHz region?
Q13. The signal to noise ratio (SNR) of the contralateral responses is 
much lower than the reported 65 dB SNR?
Q14. How can the responses be equalized/normalized?
Q15. How was the speaker response inverted?
Q16. What is a minimum phase filter?
Q17. How do we use these HRTFs to build a 3d audio system?
Q18. What is convolution? Is it pairwise multiplication?
Q19. Can the HRTFs be used at different sampling rates?
Q20. How does one control the perception of source distance?
Q21. Is there any public domain software to do spatialization?
Q22. Headphone questions.
Q23. Why are there left and right ear measurements of the headphones?


Q1. An error occurs when the data is unpacked, or all the files do not 
show up when untar'd?

When transferring the files using ftp, make sure you have specified 
BINARY transfer mode. ASCII mode (the default) may convert carriage 
return and newline characters, thus corrupting the data. This will 
either lead to error messages, or incomplete or otherwise corrupted 
data.

Q2. When I telnet to "sound.media.mit.edu", I can't login as anonymous?

Don't use telnet, use ftp.

Q3. How do I read the data?

The data is stored as raw 16-bit integers, in "big-endian" format. This 
is the same format used by Macintoshes and SGI's, where the most 
significant bytes occurs in the lower memory address. If you have a 
"little-endian" machine (i.e. DEC or IBM PC compatible), then you need 
to swap the bytes of the data. The stereo files (compact data) are 
stored with the two channels interleaved L0, R0, L1, R1, and so on.

Q4. How do I read the data in MATLAB?

This is particularly easy, since MATLAB has an option for reading "big-
endian" data. The following code reads one of the compact data files and 
splits it into stereo channels.

	fp = fopen('H-10e090a.dat','r','ieee-be');
	data = fread(fp, 256, 'short');
	fclose(fp);

	leftimp = data(1:2:256);
	rightimp = data(2:2:256);

We will soon release MATLAB scripts to read the HRTF data.

Q5. How do I read the data on a Macintosh? Can I convert to AIFF files?

On the Mac, you can use MATLAB of course, but you may also want to 
convert the files to Sound Designer II (SDII) format or AIFF.  To 
convert to SDII format, first find an SDII stereo sound file, then use 
ResEdit to copy all the STR resources, and then paste these into the 
HRTF file, creating a new resource fork. Then change the Finder info 
(again using ResEdit, or you can use FileTyper) so the type is 'Sd2f' 
and the creator is 'Sd2a'.  Then you can use Sound Designer to convert 
to AIFF if that's what you want.

Actually, even simpler is to use Tom Erbe's SoundHack program. Use the 
"Open Any..." command and open an HRTF file. It will give you an error 
saying no header, but that's OK. You can then use the "Header Change..." 
command to select stereo or mono (whichever applies), 16-bit data, 44.1 
kHz sampling rate.  Then do a "Save As..." and you can select any output 
format you want. SoundHack has a convolution feature, and even does 
spatialization using a set of HRTFs.

Q5a. How do I read the data on a PC? What are ".tar.Z" files and ".ps.Z"
files?

As explained in the documentation, ".tar.Z" files are UNIX tar files
(for "tape archive") that have been compressed using the UNIX compress
program. A file extension of ".ps.Z" indicates the file is a Postscript
document that has been compressed.

Here are some instructions for setting up Netscape 2.0 on a PC for 
downloading ".ps", ".tar", and ".Z" files using helper applications.  Note 
that ".Z" files are UNIX compress files which are not the same as PC ".zip" 
files.

The "tar4dos" program and "comp430d" program are PC versions of the UNIX
tar and compress/uncompress commands. They can be downloaded from:

    gopher://spib.rice.edu:70/11/SPIB/utilities

(follow the "pc" link)

The files are in zip format, so you need to unzip them. The "comp430d.exe"
program should be duplicated to both "compress.exe" and "uncomp.exe"
as explained in the documentation.

There is a postscript viewer for PC's at:

    http://www.cs.wisc.edu/~ghost/index.html

After downloading/unzipping the appropriate files, you end up with the
"GSView" program that can display postscript files in a window.

It should go without saying that these links and associated software
are subject to change without notice.

Now, to set up Netscape 2.0 to do the right thing, you go to the Options 
menu and select General preferences, and then select Helpers.  For the 
extension "Z", select "Launch application" and "Browse" to the "uncomp.exe" 
file and select it.  Repeat this procedure for the extension "tar", 
selecting "tar.exe", and for "ps" select "GSView.exe".  Netscape should 
now automatically call these programs when downloading files with one of 
these extensions.

Note that Netscape will by default put things in the temporary
directory, selected in the General preferences "Applications" dialog.

Unfortunately, there is a problem that prevents Netscape from interpreting 
multiple extensions, such as "myfile.ps.Z".  This will be downloaded into 
"myfile_ps.Z" (in the temp directory) and then "uncomp" will be called to 
uncompress it, leaving the file "myfile_ps".  To view or print this, you 
need to do it manually.

Q6. The maximum values in the data do not agree with the documentation?

The maximum values in the data are:

The left ear (full) data: -26793 in file "L40e289a.dat", as reported.

The right ear (full) data: +29877 in file "R40e039a.dat", as reported.

The compact data: -30496 in file "H-10e100a.dat". This was originally 
reported as occurring in file "H-30e048a.dat", which was a mistake. The 
documentation has since been corrected. Note that the documentation 
reports the absolute values of the maxima.

If the maximum values are not the same, then your data is incorrect. The 
most likely reason, besides a transfer problem (see Q1), is that the 
high and low bytes of the 16-bit data need to be swapped, (see Q3).

Q7. Why are the headphone and speaker impulse responses 16383 samples 
long?

We had intended to crop them to 512 samples, but we forgot.

Q8. How was KEMAR configured?

The mannequin head and torso is usually referred to simply as KEMAR 
(Knowles Electronics Mannequin for Acoustics Research). The Mannequin 
head and torso is model DB-4004 (which includes model DB-062 head and 
model DB-127 torso). The torso was equipped with two neck rings 
(included with model DB-4004).  The pinnae come in small (model DB-060 = 
right, DB-061 = left) and "large-red" (model DB-065 = right, DB-066 = 
left) sizes. For our measurements, the left pinna was model DB-061, and 
the right pinna was model DB-065 (see Q10). The ears were fitted with 
canal extensions (model DB-050, one for each ear) that couple to the 
occluded ear simulators (model DB-100, one for each ear). The occluded 
ear simulators are Zwislocki couplers that simulate the terminating 
impedance of the eardrum. 'Eardrum' pressure was measured with Etymotic 
Research ER-11 microphones (which come with preamplifiers). The 
preamplifiers were set to have flat equalization (no diffuse-field 
equalization).

A excellent description of the design of KEMAR can be found in
reference [13].

Q9. Addresses/numbers for Knowles and Etymotic?

Knowles Electronics
1151 Maplewood Drive
Itasca, Illinois  60143
phone:  (708) 250-5100
fax:    (708) 250-0575

Etymotic Research
61 Martin Lane
Elk Grove Village, Illinois  60007
phone:  (708) 228-0006
fax:    (708) 228-6836

Q10. Why did we use two different pinnae?

This response taken from [4]:

It was desired to obtain HRTFs for both the "small" and "large red" 
pinna styles.  If the KEMAR had perfect medial symmetry, including the 
pinnae, then the resulting set of HRTF measurements would be symmetric 
within the limits of measurement accuracy.  In other words, the left ear 
response at azimuth theta would be equal to the right ear response at 
azimuth 360 - theta.  It was decided that an efficient way to obtain 
symmetrical HRTF measurements for both the "small" and "large red" 
pinnae was to install both pinnae on the KEMAR simultaneously, and 
measure the entire 360 degree azimuth circle.  This yields a complete 
set of symmetrical responses for each of the two pinna, by associating 
each measurement at azimuth theta with the corresponding measurement at 
azimuth 360 - theta.  For example, to form the symmetrical response pair 
for the "small" pinna (which was mounted on the left ear), given a 
source location at 45 degrees right azimuth, the left ear response at 45 
degrees (contralateral response) would be paired with the left ear 
response at 315 degrees azimuth (simulated ipsilateral response).  Such 
a symmetrical set will not exhibit interaural differences for sources in 
the median plane, which has been shown to be a localization cue.  
Assuming an HRTF is negligibly affected by the shape of the opposite 
pinna, these symmetrical sets should be the same as sets obtained using 
matched pinnae.

Q11. Is the interaural time delay factored out of the data?

No. The interaural time delay is still present in the data. Any 
processing done to the data (filtering or cropping) was done to both 
channels in the same manner (and thus does not affect interaural 
differences).

Q12. What causes the deep notches in the spectra in the 9-10 kHz region?

In general, high frequency notches in HRTFs are caused by interaction
of the incident sound with the external ear. The particularly deep
notch in the 9-10 kHz region, which is very visible in the horizontal
responses, is probably due to a concha resonance. An excellent
description of the various spectral features and their physical causes
is given by Lopez-Poveda and Meddis [16]. Many of their plots are derived
from this KEMAR data.

Q13. The signal to noise ratio (SNR) of the contralateral responses is 
much lower than the reported 65 dB SNR?

The SNR figure of 65 dB was for frontal incidence, and is thus better 
than the contralateral responses, where the signal power drops 
considerably. We did not caclulate the average SNR across all 
measurements.

Q14. How can the responses be equalized/normalized?

There are many possibilities. Currently, the "full" data set for the two 
pinnae are unequalized, and thus contain the frequency response of the 
measurement system, including the speaker, microphone, and electronics. 
In retrospect, we should have measured the free field response of the 
speaker using one of the Etymotic ER-11 microphones, but we didn't want 
to disassemble the KEMAR. If we had made this measurement, equalizing to 
this reference would have been ideal, since the response of the 
measurement system would be completely factored out.  Instead, we 
measured the response of the speaker using a Neumann KMi 84 microphone 
(cardioid). The compact data is equalized according to this reference, 
and therefore will still contain whatever difference exists between the 
Neumann and Etymotic microphones. More precisely, the compact data is 
equalized using a minimum phase inverse filter derived from the Neumann 
measurement of the speaker (see Q15 and Q16), so the compact data may 
contain phase aberrations of the measurement system that are not 
necessarily part of the HRTFs.

Another problem is that both the full data and compact data include the 
ear canal resonance. When these HRTFs are used in an auditory display, 
the listener will hear the KEMAR ear canal resonance in addition to 
his/her own ear canal resonance.  Often, HRTF measurements are made at 
the entrance of the ear canal to eliminate the ear canal resonance.  To 
remove the ear canal resonance frm the KEMAR data, one can equalize the 
responses based on published data of ear canal resonances (for instance, 
see [6,7]). Another possibility is to equalize the responses using the 
inverse filter for the headphone responses, which also contain the ear 
canal resonance (see [12]).

A different strategy can be used to factor out both the measurement 
system response and ear canal response.  This is to normalize the 
measurements with respect to a specific free field direction (called 
free field equalization), or with respect to an average across all 
directions (called diffuse-field equalization) [5].  In both cases, the 
measurement system response and the ear canal response (neither of which 
change as a function of sound direction) will be factored out of the 
data.  An example of free-field equalization is Shaw's published data 
[10], where all the responses are normalized with respect to frontal 
incidence.  When equalizing according to a diffuse-field average, one 
must decide how to form the average. It is possible to average the 
magnitude responses across all incident directions, or to average the 
magnitude squared responses.  The latter is a power average across all 
directions, and has a clear physical interpretation.

The MATLAB script "do_diffuse_eq.m" found in "matlab_scripts.tar.Z"
creates the diffuse-field equalized data set "diffuse.tar.Z" by
forming the power spectrum average across all incident directions, and
inverting this using a minimum phase inverse filter. This data set is
sampled at 44.1 kHz. The "diffuse32k.tar.Z" data set is the
diffuse-field equalized data resampled to 32 kHz. sampling rate. One can
use these HRTFs with a diffuse-field equalized headphone, such as the
AKG-K240.

A complete discussion of equalization techniques is beyond the scope of 
this FAQ.  If the HRTFs are to be used in an auditory display, it is 
necessary to consider the complete playback system to decide on an 
equalization strategy (see [1,5,7,11,12,14]).  We recommend reading the 
references for more information.

Q15. How was the speaker response inverted?

The details of inverse filter creation were omitted from the 
documentation, because the inverse filters were only included for people 
who might want to duplicate the creation of the "compact" data set from 
the "full" set.  The filters were somewhat hacked together, and are not 
intended to be ideal by any means.

We'll try to reconstruct the process used to create the inverse filters. 
The entire process was performed in MATLAB.

The "Opti-inverse.dat" filter:

Taking the first 512 points of the raw response, we padded with zeros to 
8192 points.
The response was divided by 2^14 to normalize to +/- 1.
The 8192 point FFT was performed and the magnitude and phase were saved
as two separate vectors.
All magnitudes smaller than -20dB (Re 1) were clipped to -20dB.
All magnitudes were inverted (replaced by their multiplicative inverse).
All phases were negated.
Above 15kHz, the magnitude was set to the magnitude at 15kHz.
The inverse FFT was performed.
The result was rotated so that the maximum value occured at index 4096.
The result was multiplied by a 2048 point raised cosine window centered
at index 4096.
The result was multiplied by 2^14 and saved as 16-bit shorts.

The "Opti-minphase.dat" filter:

The "rceps" (or real cepstrum) command in MATLAB ws used to obtain a 
minimum phase signal derived from the "Opti-inverse.dat" filter.  This 
was truncated to 2048 points.  Details of the real cepstrum algorithm 
are in Oppenheim and Schafer [9].

There may be a few minor inaccuracies in the inverse filter creation 
process as described above, but the basic process is described. We will 
be releasing MATLAB code to perform filter inversion.

Q16. What is a minimum phase filter?

Ouch. We will try to give a brief, intuitive, and partially correct 
explanation, but if you need to learn more about this topic, you should 
take a course in signal processing or look at Oppenheim and Schafer's 
DSP book [9].  A filter's impulse response in the frequency domain has a 
magnitude and phase response which are both functions of frequency.  
Every impulse response has a minimum phase representation which has the 
same magnitude response as the original filter, but a phase response 
which is minimized in a particular way, such that the minimum phase 
filter has the least amount of time smear possible.  Consequently, 
minimum phase filters are compacted in time, and are therefore 
computationally efficient for obtaining a desired magnitude response.  
Also, the phase response of a minimum phase filter can be calculated
from the magnitude response (find information on the cepstrum and the 
Hilbert transform in [9]).  Finally, minimum phase filters have an 
important property regarding invertibility: they are invertible using a 
stable, causal filter.

Q17. How do we use these HRTFs to build a 3d audio system?

The basic idea is shown below (the figure was sent in by one of the 
users of the data). The input signal x[n] must be convolved with the 
appropriate pair of HRTFs and then presented to the listener binaurally 
(usually this is done using headphones, but transaural presentation [2] 
using speakers is also possible).  The apparent source position can be 
changed by selecting the appropriate pair of HRTFs.  However, to prevent 
clicks in the output, it is necessary to perform some sort of 
interpolation to smooth the transition. For more information, see [1,5].

                  ______________
                 |              |
                 | Right Ear    |
          +----->| x[n] * hR[n] |----+
          |      | (FIR filter) |    |        /---------\
          |      |______________|    |       |           |
  Input   |                          |    +--|   O   O   |--+
  x[n] ---+                          +--->|  |     *     |  |<--+
          |                               +--|           |--+   |
          |                                  |   \___/   |      |
          |       ______________              \_________/       |
          |      |              |                               |
          |      | Left Ear     |                               |
          +----->| x[n] * hL[n] |-------------------------------+
                 | (FIR filter) |
                 |______________|


Q18. What is convolution? Is it pairwise multiplication?

Convolution isn't pairwise multiplication. The equation for discrete 
time convolution is:

       i = N-1
        ----
        \
y[n] =   >  x[n-i] * h[i]
        /
        ----
       i = 0

Where h[n] is the N-point impulse response of the filter, perhaps a 128-
point HRTF, x[n] is the input signal, and y[n] is the output signal.  
This equation implements an N-point finite impulse response (FIR) 
filter.

If this doesn't clarify things, you should look at a signal processing 
book. You would probably be interested in Durand Begault's recent book 
on 3-D audio [1], which describes all of this stuff without getting too 
technical. For a real dose of signal processing, look at Oppenheim and 
Schafer, "Discrete Time Signal Processing", which is the standard text 
used at MIT [9].

Q19. Can the HRTFs be used at different sampling rates?

Yes, but it is necessary to resample the data appropriately.  We don't 
know of a good public domain program that resamples.  You can do it in 
MATLAB using the interp and decimate functions, but it is very 
inefficient.  Another consideration is that the HRTFs won't work as 
effectively at very low sampling rates, because the high frequency 
pinnae cues will be missing.  We have released a set of diffuse-field
equalized HRTFs resampled to 32 kHz (in the file "diffuse32k.tar.Z").

Q20. How does one control the perception of source distance?

The HRTFs were measured at constant distance (1.4 meters) in an anechoic 
chamber.  Due to the spherical expansion of sound, sound pressure falls 
off as 1/r, where r is the distance to the source.  Thus, if we measured 
the HRTFs at distances greater than 1.4 meters, we would expect the 
amplitude to fall off in inverse proportion to the distance.  We would 
not expect the interaural differences to change as a function of 
distance, because the incident sound is essentially a plane wave.  
However, at small distances close to the head (under 1 meter), the 
curvature of the wavefront becomes significant, and we would expect 
qualitative differences in the HRTFs as a function of distance.  We did 
not measure a set of "near-head" HRTFs. At large distances from the
head, atmospheric effects including dispersion and lowpass filtering
can audibly alter the spectrum of incident sound, but these affect both
ear responses the same.

In general, it is not a problem to synthesize headphone signals that are 
perceived near the head.  On the contrary, the problem is to get sounds 
to be externalized (i.e. distant from the head).  The principal cue used 
in distance perception is the ratio of direct sound to reflected sound 
(reverberation).  In a typical reverberant space (a room), the level of 
reverberation doesn't depend on the distance to the source.  To use a 
water analogy, consider what a swimming pool looks like moments after 
someone has jumped in.  The random waves in the pool will all have the 
same amplitude (except near the edges) regardless of where the initial 
disturbance was.  However, the first waves caused by the impact do decay 
as a function of distance to the "source".  Thus in a reverberant 
environment it it possible to estimate the source distance by comparing 
the direct energy in an onset event to the background energy of the 
reverberation.

In order to synthesize a distance cue, one simply needs to pass the 
source sound through a reverberator, and mix a constant amount of stereo 
(uncorrelated) reverberation into the final binaural signal.  Then, to 
change apparent source distance, the level of the direct spatialized 
sound is changed in inverse proportion to distance, while the 
reverberant level stays constant at all times.  A really good simulation 
would consider the geometry of the space and synthesize appropriate 
early reflections in addition to the late reverberation. It is also
possible to simulate atmospheric effects to suitably alter the timbre
of very distant sounds.

Q21. Is there any public domain software to do spatialization?

Yes, we have released the "3Daudio" program that uses the KEMAR HRTFs
to spatialize a single source at 32 kHz. The program and source code
is available in the file "3Daudio.tar.Z".  Position control is
currently done via MIDI.  The program will only work on SGI machines
(written on an Indigo).  It uses the fast SGI FFT routines to do the
convolution.

Interested users should also check out the Virtual Sonic Space (VSS)
program for SGI Indigos written by Rick Bidlack. It is a 3D audio
program that uses the KEMAR HRTFs, and features a graphical front end,
doppler shift, and distance (amplitude) control. Source code is
available. There is a link to this program on the KEMAR web page.
It can be found at:

ftp://accessone.com/pub/misc/release/

Q22. Headphone questions:

* The AKG K240 is "circumaural". Those are the big headphones, correct?
* For the Sennheiser HD480 you say "supraaural, open air". Supraaural 
means it covers only a part of the pinnae, upon the cavum conchea, 
correct?
* Then what do you mean by "open air"?
* For the Radio Shack Nova 38 you say "supraaural, walkman style". Do 
you mean the old-style walkman headphones?
* You describe the Sony Twin Turbo as "intraural, ear plug style". 
Intraural means that it's directly plugged into the auditory canal and 
covers only a little part of the cavum conchea. But there are 2 styles 
of these kind of headphones; one has its surface parallel to the eardrum 
and the other one has its surface perpendicular to the eardrum. The 
latter has always a metal bar upon the head connecting the 2 headphones. 
Which style are the Twin Turbos?

The AKG K240 circumaural headphones are the large headphones that cover 
the entire ear (and pinna). The Sennheiser HD480 supraaural headphones 
press against the pinna. They really aren't "open air", but rather have 
cushions made of (acoustically transparent?) foam. The Radio Shack Nova 
headphones are indeed the old style walkman headphones, with rather 
small foam cushions. The Sony Twin Turbo headphones plug into the ear 
and are not the perpendicular variety you mentioned. These seal the ear 
canal, more or less, and the transducer projects directly into the ear 
canal (and the two plugs are not connected by a structural element).

Q23. Why are there left and right ear measurements of the headphones?

It was convenient to do so. We would expect the two measurements to be 
similar, but not exactly the same, as the two pinnae were different 
models.  For the in-ear headphones, we would expect a lot of variation 
depending on the exact placement of the phone in the ear canal.  We 
didn't do any repeatability measurements for the headphone responses, 
and in retrospect, we don't expect the headphone responses to be of 
great use to anyone, since the responses probably vary quite a lot with 
placement on the head, volume of ear canal, etc. (see [7,8]).


REFERENCES

[1] Durand R. Begault, 3-D Sound for Virtual Reality and Multimedia, 
Academic Press, Cambridge MA, 1994.

[2] Cooper, D. H., and Bauck, J. L., "Prospects for transaural 
recording", J. Audio Eng. Soc. 37, 3-19, 1989.

[3] Gardner, W. G., and Martin, K. D., "HRTF measurements of a KEMAR 
dummy head microphone", MIT Media Lab Perceptual Computing Technical 
Report #280, 1994.

[4] Gardner, W. G., and Martin, K. D., "HRTF measurements of a KEMAR", 
J. Acoust. Soc. Am 97 (6), 1995.

[5] J. M. Jot, Veronique Larcher, Olivier Warusfel, "Digital signal 
processing issues in the context of binaural and transaural 
stereophony", Proceedings of the Audio Engineering Society, 1995.

[6] Mehrgardt, S. and V. Mellert, "Transformation characteristics of the 
external human ear", J Acoust. Soc. Am. 61, 1567-1576, 1977.

[7] H. Moller, D. Hammershoi, C. B. Jensen, and M. F. Sorenson, 
"Transfer Characteristics of Headphones Measured on Human Ears", J. 
Audio Eng. Soc., vol. 43 (4), 203-217, 1995.

[8] H. Moller, C. B. Jensen, D. Hammershoi, and M. F. Sorenson, "Design 
Criteria for Headphones", J. Audio Eng. Soc., vol. 43 (4), 218-232, 
1995.

[9] Alan V. Oppenheim and Ronald W. Schafer,  Discrete Time Signal 
Processing, Prentice Hall, Englewood Cliffs, NJ, 1989.

[10] Shaw, E. A. G. and Vaillancourt, M. M., "Transformation of sound-
pressure level from the free field to the eardrum presented in numerical 
form", J. Acoust. Soc. Am, 78, 1120-1122, 1985.

[11] Theile, G., "On the standardization of the frequency response of 
high-quality studio headphones,", J. Audio Eng. Soc., 34, 953-969, 1986.

[12] F. L. Wightman and D. J. Kistler, "Headphone simulation of free-
field listening," J. Acoust. Soc. Am., vol 85, pp 858-878.

[13] Burkhard, M. D., and Sachs, R. M. (1975). "Anthropometric manikin
for acoustic research", J. Acoust. Soc. Am., 58, 214-222.

[14] Moller, H. (1992). "Fundamentals of Binaural Technology", Applied 
Acoustics, 36, 171-218.

[15] Moller, H., Hammershoi, D., Jensen, C. B., and Sorensen,
M. F. (1995a). "Transfer Characteristics of Headphones Measured on
Human Ears", J. Audio Eng. Soc., 43(4), 203-217.

[16] Lopez-Poveda, E. A., and Meddis, R. (1996). "A physical model of
sound diffraction and reflections in the human concha," J. Acoust. Soc.
Am., 100(5), 3248-3259.
