Bulk download - click topic to download Zip archive of all papers related to that topic: Applications & Audio Education Audio Applications Audio Coding, Analysis, and Synthesis Audio Education Audio Processing and Effects – Part 1 Audio Processing and Effects – Part 2 Audio Quality Part 1 Audio Quality Part 2 e-Brief Posters—1 e-Brief Posters—2 Loudspeakers-Part 1 Loudspeakers-Part 2 Measurements Perception – Part 1 Perception – Part 2 Perception – Part 3 Posters: Analysis/Synthesis Posters: Applications Posters: Audio Coding and Quality Posters: Audio Processing/Audio Education Posters: Measurement Posters: Modeling Posters: Perception Posters: Spatial Audio Posters: Transducers Signal Processing/Audio Effects & Instrumentation/Measurements/Forensics Spatial Audio Spatial Audio-Part 1 Spatial Audio-Part 2 Spatial Audio-Part 3 Transducers & Psychoacoustics
The aim of this paper is learning the shortest possible lengths of audio fades and crossfades that are not audible as audio artifacts. The determined lengths can be utilized in adaptive streaming scenarios during pauses and content switches. Subjective and objective tests were performed, utilizing speech and music signals with various fade-out and fade-in lengths. Subjective evaluation was performed by critical listening tests where listeners were asked to grade the quality of the fade-out or fade-in and listen for unwanted audio artifacts. Basing on the subjective test results, optimal ranges of fade-out and fade-in times were selected—50 to 100 ms for fade-in, and 100 to 200 ms for fade-out. Objective tests were conducted using optimal times chosen by the listening tests. The results confirm that the selected ranges of fade-in and fade-out lengths do not introduce significant harmonic distortion and noise into the signal.
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3D sound intensity measurement of 1241 sound objects rendered by Dolby Atmos on fine panning grids was carried out by using a Virtual Source Visualizer (VSV). The obtained sound localizations were visualized as a 3D panning map. To evaluate properties of reproduced sound fields for several kinds of rendering systems in various rooms, the authors have previously carried out VSV measurements of sound objects on some main panning positions. The results roughly illustrated each acoustic feature of rendered sound fields. This measurement was carried out to find out the relationship between 3D panner’s indications and physical sound localizations on finer scale. The visualized sound localizations formed “3D panning position map” that clearly shows the relationship between them.
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In order to present three-dimensional virtual sound sources via headphones, head-related transfer functions (HRTFs) can be integrated in a spatialization algorithm. However, the spatial perception in binaural virtual acoustics may be limited if the applied HRTFs differ from those of the actual listener. Thus, SOFAlizer, a spatialization engine allowing to use and switch on-the-fly between listener-specific HRTFs stored in the spatially oriented format for acoustics (SOFA) was implemented for the Unity game engine. With that plugin, virtual-reality headsets can benefit from the individual HRTF-based spatial sound reproduction.
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This brief will communicate the author’s recent research that questions what it is to expand the horizon of field recording beyond the physical sense of sonic immediacy into the simultaneous recording of mixed physical, technological and network-based realities. In doing so this work proposes a reconstruction to what constitutes a modern sound recordist’s immediate sonic environment in today’s technologically inundated atmospheres. This brief will discuss the architecture of a PR-VR, software-based audio device capable of recording real-time, multichannel inputs and field recordings from physical, technological, and virtual acoustic spaces concurrently. By blending multi-reality input streams through algorithm this research looks to explore how modern technology can sculpt new variegated sound field recordings and formulate new hybrid, soundscapes.
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In this paper we present a set of solutions that may be used for prototyping and simulation of acoustic scattering devices. The system proposed is capable of measuring sound field. Also a way to use an open source solution for simulation of scattering phenomena occurring in proximity of acoustic diffusers is shown. The result of our work are measurement procedure and a prototype of the simulation script based on FEniCS - an open source computing platform for the FEM-based solution of differential equations. A visualization and comparison between data obtained from measurement and an example of the simulation scenario are presented and discussed.
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This engineering brief presents the novel multichannel audio laboratory for immersive media applications of the Institut fu¨r Kommunikationstechnik (IKT) with its varying multichannel loudspeaker arrangements and acoustical transparent projection screens of nearly 270°. We address the construction process and setup of the laboratory called Immersive Media Lab (IML). It was designed in compliance to the strict recommendations of the ITU-R BS.1116-3 in order to conduct research in 3D audio reproduction. Our brief will first address issues of space and room dimensions as well as the acoustical design of the new listening room. Furthermore, the flexible loudspeaker arrangement consisting of 28 active loudspeakers as well as the projection setup consisting of 3 high definition ultra-short throw video projectors is described.
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Verbal suggestions of loudness changes have been reported to result in significantly higher loudness ratings than those of a control group [1]. This study seeks to extend these results to VoIP applications by implementing visual priming cues within a VoIP interface and assessing their effect on audio quality ratings. A list of common visual priming cues was compiled and cross-referenced with prevalent design features found in popular mobile VoIP Applications. Fourteen participants were divided into two groups: one received embedded priming cues and one did not. Quality ratings were gathered using a MOS rating scale. The results are presented and their relevance discussed.
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With the advent of new technologies that allow for virtually any modern computer to process high quality audio, many musicians and amateur players are presented with a plethora of sound sculpting tools. Some of these display subjective attributes such as warmth punch and shimmer. If engineers are able to manipulate the timbre of a recorded sound using equalization, are they then able to use this ability to convey specific perceptual intentions (to make a sound “crunchy,” “bright,” or “warm” for instance). Using Juslin’s standard paradigm, this study explores the question: How effective are audio engineers in communicating warmth when applying equalization?
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Binaural synthesis has gained fundamental importance both as a practical sound reproduction method and as a tool in audio research. Binaural rendering requires significant implementation effort, especially if head movement tracking or dynamic sound scenes are required, thus impeding audio research. For this reason we propose the Binaural Synthesis Toolkit (BST), a portable, open source, and extensible software package for binaural synthesis. In this paper we present the design of the BST and the three rendering approaches currently implemented. In contrast to most other software, the BST can easily be adapted and extended by users. The Binaural Synthesis Toolkit is released as an open software package as a flexible solution for binaural reproduction and to foster reproducible research in this field.
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This paper provides a description of experimental investigations concerning comparison between the audio path characteristics of various Android versions. First, information about the changes in each system version in the context of latency caused by them is presented. Then, a measurement procedure employing available applications to measure latency is described comparing to results contained in the Internet. Finally, a comparison between tested systems and results of tests are presented along with conclusions on possible audio processing implementations on the Android platform.
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