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Bulk download - click topic to download Zip archive of all papers related to that topic:   No Subject Listed    Acoustics    Acoustics, Psychoacoustics, & Education    Acoustics, Transducers, and Audio    Applications in Audio    Cinema Sound & Forensic Audio    Education    Education, Network Audio, & Signal Processing    Perception    Perception & Forensic Audio    Production and Broadcast    Semantic Audio & Sonification    Signal Processing    Spatial Audio    Spatial Audio & Transducers    Spatial Audio and Recording & Production    Spatial Audio, Signal Processing & Transducers    Spatial Audio: Production    Transducers   

 

A Ground Plane Measurement Comparison Between Two Floor-Standing Loudspeaker Systems: A Conventional Three-Way Studio Monitor vs. A Ground-Plane Constant Beamwidth Transducer (CBT) Line Array

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This paper compares two different types of floor-standing loudspeaker systems. Both were measured over an acoustically reflective hard surface in a large space. The first is a high-performance conventional three-way 12”-woofer studio monitor and the second is a ground-plane circular-arc CBT line array loudspeaker. Measurements included direct-field frequency responses in front of the systems at 20 grid locations ranging over different distances/heights and response vs. distance at seated and standing heights. Horizontal off-axis and near-field responses were also gathered along with ceiling illumination responses at several launch angles. The measurements reveal that the CBT system has vastly more even coverage at all these locations compared to the three-way monitor and in addition eliminates the detrimental effects of floor bounce.

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A 3D Sound Localization System Using Two Side Loudspeaker Matrices

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We have been researching about 3D spatial sound localization using loudspeakers. However, loudspeaker systems using VBAP methods, usually need a large listening space and a lot of loudspeakers. In this paper we propose a loudspeaker matrix system to improve sound localization on 3D sound system for personal use. Four loudspeakers were set on all vertices of 25 centimeters regular square, 2 matrices on both sides of the listener. Then, we have held audio experiments to confirm the effect of the matrix system. As a result, the loudspeaker matrices system can improve sound localization especially with higher elevation.

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Source-Distance Based Panning Algorithm (SDAP) for 3D Surround Sound

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The Source-Distance Based Amplitude Panning (SDAP) algorithm offers a new approach in determining gain amounts for distributed loudspeakers in a three-dimensional (3D) space. Similar to the 3D implementation of Vector Based Amplitude Panning (VBAP), this method is based on the use of non-overlapping triangular regions formed by the known locations of sets of three loudspeakers. Unlike VBAP, however, this method compares the location of the panning vector to the surface formed by the triangular region and uses Barycentric coordinates to determine the speakers' respective amplitudes. In addition, SDAP removes the possibility of negative amplitudes as may appear in VBAP. Informal listening test results showed that the perceived position of the sound source was perceptually well matched to the target position.

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STEAK: Backward-Compatible Spatial Telephone Conferencing for Asterisk

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In this paper we present our implementation of a telephone conferencing system that renders a spatial representation via binaural synthesis. The implementation extends the open-source software Asterisk and complies with established Voice-over-IP standards. The implementation only requires clients to be capable of receiving and reproducing the rendered binaural signals (two channels). Furthermore, the implementation is backward-compatible as clients not fulfilling these requirements are provided with mono-rendered signals without additional spatial information. The implemented system is released as open-source software and will enable researchers to investigate the (dis-)advantages of spatial conferencing under real-world conditions. The project name is Spatial TelephonE conferencing for AsterisK (STEAK)

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Process of HRTF Individualization by 3D Statistical Ear Model

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The use of HRTFs is of well-known importance when it comes to binaural listening. However, easily capturing accurate data is a key point that has not been solved yet. In this paper we present a process for individualizing the HRTFs of an individual using ear photographs. These are fitted to a statistical 3D ear model coupled to a statistical HRTF model. This coupling allows to instantly generate from a given parameterization of the ear model a corresponding set of HRTFs. The accuracy of the results is a direct consequence of the quality and the size of the underlying databases.

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Evaluation of Portable Loudspeakers Using Virtual Listening Test

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The audio quality of portable wireless speakers for consumer use has improved in recent years. In this study perceptual evaluations of several portable loudspeaker systems were performed using virtual listening test methods. A preference test was designed to assess the comparative performance of these loudspeakers. The recordings of each loudspeaker were done in a controlled situation and then the listening panel took the listening test by headphone playbacks. Considering the wide use of bass-boost effect in these products, perceptual qualities of both high playback level and low level were investigated. Several objective measures were also applied to these loudspeakers. The results of the listening test and objective measures were compared and discussed.

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A Broadcast Film Leader with Audio Channel, Frequency, and Synchronism Test Properties

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Universal film leaders, commonly known as “countdowns,” have been an important tool to synch audio and video. In a broadcast production, the material goes through several stages where audio and video are edited and processed, and time is a very precious resource. Also, it is important to minimize possible errors in the production chain. We propose a film leader format that, in a single 10 second clip, would be possible to do a preliminary check on aspects such as surround and stereo channel identification, relative channel level and frequency response, as well as synchronism. The proposed film leader has been tested and integrated in a Brazilian Television Network with very good results.

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Live vs. Edited Studio Recordings: What Do We Prefer?

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This pilot study examines a common belief in written classical music that a live recording conveys a more expressive musical performance than a technically flawless studio production. Two tonmeister students of the Paris Conservatoire recorded a six-dance baroque suite and a four-movement romantic sonata in concert and in studio sessions with the same microphone techniques and in the same venue for both conditions. Twenty listeners completed an online survey to rate three versions of the dances and movements, i.e., the concert performance, the firstt studio take, and the edited version. Results show that listeners preferred the edited versions (44%) more often than the firstt studio takes (29%) and the concert performances (27%).

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Rondo360: Dysonics’ Spatial Audio Post-Production Toolkit for 360 Media

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Rondo360 is Dysonics’ toolkit for spatial audio post-production, supporting multiple workflows including multichannel, Ambisonics, and Dysonics’ own native 360 Motion-Tracked Binaural (MTB) format. Rondo360 works with all input formats—live or prerecorded—from traditional or sound field microphones, and exports to a wide array of formats depending on desired content distribution. Rondo360 integrates seamlessly with all DAWs by adding a final layer onto the creator’s existing workflow, and it comes bundled with a suite of custom mastering tools (Mixer, Compressor, Limiter, and Reverb) that work on multichannel sound field content. With support for RondoMotion, Dysonics' wireless head-tracking device, creators can monitor their 360 mixes in real-time. Rondo360 also provides an intuitive audio/video sync and export functionality along with live broadcasting support.

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Mixing Hip-Hop with Distortion

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The grit and grime of Hip-Hop doesn't have to be metaphorical. With the vast array of saturation tools available, distortion is no longer just something to remove from recordings; and the huge and aggressive sounds in Hip-Hop music can benefit specifically. From subtly warming drums and keyboards to mangling vocals and samples, this brief will demonstrate techniques for creatively distorting urban music. Exploring tape emulation, parallel vocal distortion, drum crushing, and more, I will investigate how a bit of dirt can drastically affect a mix.

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                 Search Results (Displaying 1-10 of 23 matches)
AES - Audio Engineering Society