Bulk download - click topic to download Zip archive of all papers related to that topic: Audio Analysis and Synthesis Audio Coding Audio Processing and Effects Audio Systems, Design, Amplifiers Education in Audio Hearing Aids and Preservation Listening Tests and Psychoacoustics 1 Listening Tests and Psychoacoustics 2 Miscellaneous 1 Miscellaneous 2 Posters: Analysis, Coding, and Hearing Posters: Room Recording, and Listening Posters: Spatial Audio Posters: Spatial Audio, Room, Recording, and Listening Posters: Spatial Audio—Binaural Posters: Transducers, Systems, and Effects Recording and Live Sound Recording, Live Sound, Effects, Other Room Acoustics: Sound Field Simulation and Generation Sound Zones Spatial Audio, Listening Tests, Systems Spatial Audio—Ambisonics Spatial Audio—Binaural Spatial Audio—Binaural 1 Spatial Audio—Binaural 2 Spatial Audio—Binaural 3 and Objects Spatial Audio—Channel Based Tranducers, Education Transducers 1 Transducers 2 Transducers 3
Except for unamplified dramatic performances or concerts where the audience is either used to sitting quietly or can be persuaded to listen quietly, high levels of amplifications are required so that the speech and music can still be heard above the self-noise generated by the crowd. Crowd noise can reach surprisingly high sound levels when several thousand people are shouting at each other, all at the same time. In this paper a method is presented that was used to isolate the crowd noise non destructively, so the raw instrumentation can be targeted in isolation. These isolated sources now become available for re-mixing and balancing.
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Drones are taking off in a big way, but people sometimes use them in order to invade the privacy of others or to bypass the security systems, making their detection an actual issue. The objective of the proposed system is to design real-time acoustic drone detectors, able to distinguish them from objects that can be acoustically similar. A set of features related to the propeller sounds have been extracted, and genetic algorithms have been used to select the best subset. The classification error achieved with 30 features is below 13%, making feasible the real-time implementation of the proposed system.
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The acquisition, processing, and inspection of audio data plays a central role in the everyday practice of acousticians. However, these steps are commonly distributed among different and often closed software packages making it difficult to document this work. AKtools includes Matlab methods for audio playback and recording, as well as a versatile plotting tool for inspection of single/multichannel data acquired on spherical, and arbitrary spatial sampling grids. Functional blocks cover test signal generation (e.g., pulses, noise, and sweeps), spectral deconvolution, transfer function inversion using frequency dependent regularization, spherical harmonics transform and interpolation among others. Well documented demo scripts show the exemplary use of the main parts, with more detailed information in the description of each method. To foster reproducible research, AKtools is available under the open software European Union Public Licence (EUPL) allowing everyone to use, change, and redistribute it for any purpose: www.ak.tu-berlin.de/aktools.
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Objective measures of intelligibility, speech transmission index (STI), and speech transmission index for public address systems (STIPA) often form the basis for sound system verification. The reported work challenges the accuracy of both measures when encountering high level, discrete reflections. Tests were carried out in an anechoic environment with artificial reflections added between 0 and 500 ms. Discrepancies were found to occur above 80 ms due to synchronization between modulation frequencies and reflection arrival times. Differences between STI and STIPA of up to 0.1 were found to occur for the same delay condition. Results suggest STIPA should be avoided in acoustic environments where high level, discrete reflections occur after 80 ms and STI should only be used alongside other verification methods.
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In the soundscape analysis the collected data is crucial for possible relationships between the results of measurements of acoustic, psychoacoustic research results, and characteristics of the respondents. Such analysis shall verify that the physical characteristics of sound affect the subjective assessment. The article shows a review of commonly used approaches in soundscape recording both for analysis and archive purposes. Discussion on recording from one or several spots in the middle of the sound sources versus moving with the microphone towards or inside the acoustic environment is provided. Also, special attention is paid on traditional microphone techniques in sound engineering, binaural recordings, and sound field synthesis with spherical harmonics.
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3D audio is emerging as a production format to enable immersive consumer audio experiences, including the sensation of height. This eBrief focuses on the use of 3D microphone arrays for recording 3D ambiences. Multiple microphone arrays were evaluated, both in theory as well as in practice. The arrays were assessed for their perceptual performance such as spatial envelopment, location accuracy, and timbre. Furthermore, the practical usability of these recordings in a real world movie project and the handling in a common post-production environment have been tested. With the information gathered, a Best Practice guide for different use cases has been developed.
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Objective measurements using a sinusoidal sweep show that microphone angle has little effect on the frequency response of a guitar amplifier recording [1]. However, anecdotal evidence suggests that alterations to the microphone angle hold merit when recording ecologically valid sound sources. An ABX listening experiment was conducted with 20 participants to investigate whether microphone angles of 0, 30, and 60 degrees were audibly different to this cohort. Both dynamic and ribbon microphones were used and the loudness normalized guitar recordings were presented in solo and within a music mix. The experimental results suggest that microphone angles did not generate any perceivable changes to this cohort on this program material.
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Digital musical instruments (DMIs) have been evolving over the past several decades, and much research has been done on the subject of capturing the gestures of performers in an effort to re-map them to digital instruments. The practice of audio mixing is no different from a musical performance in this respect. The gestures used by engineers are expressive and have complex metaphorical significance. In this paper two approaches to gesture-based mixing tools for audio engineers, the Mixing Glove and the Leap Motion Controller are explored. Both systems are designed to control volume, panning, solo/mute, and reverb, using hand gestures alone.
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High resolution audio gains in popularity on both audio production and consumer markets. It is necessary to characterize the advantage of high resolution audio over legacy audio formats. The authors have already reported perceptual discrimination rates for high resolution audio, that is, 192 kHz/24 bits PCM format, against a 48 kHz/16 bits format and its compressed versions under a listening room and in-car environments, respectively. In this paper we also focus on perceptual discrimination concerning bit depth in between 24 and 16 bits. Participants were asked to judge either the same or not for each paired stimulus of 48 kHz/24 bits and 48 kHz/16 bits formats. The discrimination rates depend on the reproduction environments, although those subjects could discriminate the difference in between 192 kHz/24 bits and 48 kHz/16 bits formats. It is supposed that high resolution audio benefits more from the wide frequency range than from the bit depth.
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The intensity responses in three orthogonal directions, which are calculated from measured impulse responses, include information of dominant reflections in 4-pi space. This information is important for restoration of a sound field, e.g., a spatial reverberator. A method of extracting significant reflections from instantaneous intensities or their envelopes is, therefore, the key application element. To improve the accuracy of detecting reflections, the authors have introduced a new strategy, named “speed detection,” which calculates the moving speed of instantaneous intensities at every sampled time. If the speed is lower than an assumed threshold, these intensities indicate reflections. On the contrary, faster speeds indicate the residual transient components of intensities. This “speed detection” is verified with the measured data of several experiments.
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