Transaural synthesis using loudspeaker signals determined through contemporaneous ear canal calibration is proposed as an alternative to headphone presentation for critical psychoacoustical experiments. The proposed technique can afford greater accuracy, improved reproducibility, and continuous signal monitoring. It allows the experimenter to compare listener responses to real and virtual presentations. In this article, the advantages of transaural (three or four loudspeakers) compared to crosstalk cancellation (two loudspeakers) are shown through computer modeling and manikin measurements in a moderately reverberant room. Measurements employ binaurally challenging signals and speech from a distant source. Transaural synthesis is shown to be a better solution to the essential inverse problem resulting in reduced average synthesis amplitudes, fewer large-amplitude outliers, improved amplitude and phase accuracy for real and imagined sources, and improved noise immunity. Immunity to inadvertent listener head rotation depends sensitively on loudspeaker placement and is not an advantage in general. Appendixes review the relevant mathematical foundation and extend it to the relationship between ear canal signals and eardrum signals.
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