## 1 Introduction
### Multi-Dimensionality of Spatial Attributes  
[PERSON] and [PERSON] [1] and [PERSON] and [PERSON] [2] observed the subjective perception of concert auditoria experience as being multi-dimensional. Five dimensions were found most suitable to describe the experience: Reverberance, Balance and Blend, Intimacy, Definition and Brilliance [1]. Similar verbal descriptors were used by [PERSON] [3] in his subjective study on British concert halls. A number of researchers (e.g., [4,5]) have attempted the standardisation of particular auditory attributes. The term \"Spatial Impression\" was found to be related to the early lateral reflections as well as being strongly correlated with subjective preference. [PERSON] and [PERSON] [6] also suggests that the effects of late reverberation is as salient as the early reflections in the subjective perception of a concert hall. Studies from after the 1990s (e.g., [7, 8, 9]) tend to agree that spatial impression in a concert hall has two main dimensions: ASW (Apparent Source Width) and LEV (Listener Envelopment). [PERSON] [10] claimed that the simple dimensions of ASW and LEV are insufficient for accurately describing different perceived attributes in sound recording and reproduction. He proposed a \"Scene-Based Paradigm\", where a number of low-level perceptual attributes are separated into more ecologically valid categories such as source descriptors, environment descriptors and global scene attributes. However, as [PERSON]'s study focused mainly on reproduced audio, it is important to assess the validity of this classification in the perception of concert hall/room acoustics. [PERSON] et al. [11] researched into auditory attributes perceived in concert halls. A virtual orchestra was used in three concert halls for stimuli creation and multichannel three-dimensional (3D) reproduction was used for the experiments. Sensory profiles were created by eliciting perceptual attributes from the three different concert halls. Analysis revealed that loudness and distance had a strong perceptual effect and reverberance could be associated with either the size of the space or the enveloping reverberation. Studies by [PERSON] et al. [12,13] and [PERSON] et al. [14] took a more in-depth look into the relationship between the elicited perceptual attributes, objective measurements and ultimately preference. [PERSON] et al. [15], in a comprehensive study using computer simulations of multiple acoustic venues and various types of sound sources, developed an instrument aimed towards measuring the perception of performance spaces. A number of perceptual attributes were elicited from focus group discussions on audible differences among the concert halls. However, the number of listening positions in each hall was limited to two. Whist the studies by [PERSON] et al. [11] and [PERSON] et al. [15] put emphasis on comparisons _among_ different acoustic spaces, the present study focuses on the elicitation of perceptual attributes derived from comparing different positions _within_ the same space. [PERSON] et al. [16] studied the perceived differences of multiple listening positions in a small conference room, with different source orientations. In their experiment the participants assessed five different positions in terms of: localization, reverberance, apparent source width, perceived distance and timbre. Results showed that subjects were able to perceive differences in the aforementioned attributes, even in a small room. Studies such as [17,18] summarised a large amount of information regarding lexicon used for describing sound. In [17], a sound wheel was developed, providing a common and structured lexicon to be used in describing reproduced sound. However, limited emphasis was put onto the identification of spatial attributes as the main focus was placed on timbral characteristics. [PERSON] and [PERSON] [18] expanded further on the sound wheel by studying the spatial sound attributes.