Issue link: https://digital.copcomm.com/i/1521235
74 M PS E . O R G motion within it, further by objects of acoustically significant scale moving within it, and further again by sounds that they might emanate. Traditionally, the real- time synthesis of such an acoustic environment—auralisation has been technically challenging and computationally expensive, but the field of virtual room acoustics has been developing rapidly in the last two decades. More computationally efficient rendering of area- volumetric sources is developing. For example, the reverberation fingerprint model as characterising an acoustic space for the overlaying of virtual sound sources in XR. More recently, simulating more acoustically complex multiple enclosures coupled via an aperture via scattering delay networks has become possible. However, it is still acknowledged that there is insufficient data on auralisation tools and practices, but the Kansei effect—presence, verisimilitude, realism, and naturalness is understood to enhance the quality of audio communication and hence, is a goal for immersive storytelling. Audio-Visual Perception The spectral cues for localization in the horizontal plane are superior to those in the vertical plane. The importance of optimising immersion with the correct balance of ambience volume providing auditory stimulation as a harmonised and complementary means of information transfer. Visual information can help to improve the accuracy of sound- localisation estimates, and audio- visual synchrony can improve cognition when paired stimuli co-occur within a limited time, the temporal binding window (TBW). It is likely that a spatial mismatch between visual gaze and auditory attention leads to increased task demands, as reflected in slowed reaction times during the incoherent condition and if a spectator looks toward