A Comparison of Recording, Rendering, and Reproduction Techniques for Multichannel Spatial Audio
The objective of this project is to compare the relative merits of two different spatial audio recording and rendering techniques within the context of two different multichannel reproduction systems. The two recordings and rendering techniques are "natural," using main microphone arrays, and "virtual," using spot microphones, panning, and simulated acoustic delay. The two reproduction systems are the 3/2 system (5.1 surround), and a 12/2 system, where the frontal L/C/R triplet is replaced by a 12 loudspeaker linear array. Additionally, the project seeks to know if standard surround techniques can be used in combination with wavefront reconstruction techniques such as Wave Field Synthesis. The Hamasaki Square was used for the room effect in all cases, exhibiting the startling quality of increasing the depth of the frontal image.
Click to purchase paper or login as an AES member. If your company or school subscribes to the E-Library then switch to the institutional version. If you are not an AES member and would like to subscribe to the E-Library then Join the AES!
This paper costs $20 for non-members and is free for AES members and E-Library subscribers.
The Engineering Briefs at this Convention were selected on the basis of a submitted synopsis, ensuring that they are of interest to AES members, and are not overly commercial. These briefs have been reproduced from the authors' advance manuscripts, without editing, corrections, or consideration by the Review Board. The AES takes no responsibility for their contents. Paper copies are not available, but any member can freely access these briefs. Members are encouraged to provide comments that enhance their usefulness.