Bulk download - click topic to download Zip archive of all papers related to that topic: Acoustics and Live Sound Acoustics and Signal Processing Applications in Audio Audio Education Live Sound, Recording, and Production Perception Perception – Part 1 Perception – Part 2 Posters: Applications in Audio Posters: Recording and Production Posters: Spatial Audio Recording and Production Semantic Audio Signal Processing—Part 1 Signal Processing—Part 2 Spatial Audio Spatial Audio-Part 1 Spatial Audio-Part 2 (Evaluation) Transducers Transducers—Part 1 Transducers—Part 2 Transducers—Part 3
Binaural based machine learning applications generally require a large number of HRTF (Head-Related Transfer Function) measurements. However, building an HRTF database from measurements of a large number of participants can be a time-consuming and tedious process. An alternative method is to combine the data from different existing databases to create a large training dataset. This is a significant challenge due to the large difference in measurement angles, filter size, normalization schemes, and sample rates inherent in different databases. Consequently, training of some machine learning algorithms can be cumbersome, requiring significant trial and error with different data and settings. To facilitate convenient preparation of datasets, this paper presents a Matlab-based tool that allows researchers to prepare and consolidate various HRTF datasets across different databases in a robust and fast manner. The tool is available online: https://github.com/Benjamin-Tsui/HRTF_preprocessing
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SoundFields is an interactive mixed reality experience developed for children with Autism Spectrum Disorders (ASD). The project aims to provide a technical intervention framework that has the potential to promote the improvement of joint attention, social interaction, and cognitive development through full-body interaction with virtual spatitalized auditory events. The SoundFields system is based in a 360-degree visual environment in which players can move freely around without the need for head mounted displays. By means of optical motion tracking, 3rd order ambisonic audio is transmitted wirelessly to headphones, reacting to head rotation and their position within the physical space.
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Spatial audio is becoming increasingly important in media production since the availability of adequate distribution channels and budget hardware for production and consumer side playback is increasing likewise. To not only provide a studio for the production of spatial audio content, but also accommodate research on immersive media, a novel facility has been implemented at Hamburg University of Applied Sciences (HAW). The “Immersive Audio Lab” comprises a 33.2 High Density Loudspeaker Array (HDLA) suitable for a diverse set of spatial audio coding formats including HOA, complemented with VR technology and a broadband tracking system.
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One of the challenges of virtual reality technology is to provide convincing sensory information to users, to give the illusion of presence within the virtual environment. Audio-visual input combined with self-motion is a step beyond traditional cinematic content, whereby the audio renderer must accommodate a limitless number of potential user interactions and movements within an acoustic ?eld. In this e-Brief a framework for an online (real-time) 6 degrees-of-freedom evaluation platform is detailed. The platform allows psychoacoustic research and subjective testing of binaural audio renderers for virtual reality applications and ?nds application in the development of the MPEG-I Audio Standard.
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Spatial audio implementations with binaural playback benefit from personalized HRTF sets. Thus access to an efficient procedure for capturing individual Head Related Transfer Functions (HRTF) is beneficial for media production as well as for research and development in the ?eld. In the newly established Immersive Audio Lab at Hamburg University of Applied Sciences we implemented a fast HRTF measurement procedure in a 33-channel loudspeaker dome, utilizing the Multiple Exponential Sweep Method (MESM) introduced by Majdak, Balazs, and Laback [1]. One measurement of about 4 minutes results in a set of 289 discrete HRIRs, covering 360° in the horizontal plane and roughly -15°...90° elevation.
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Homes contain a plethora of devices for audio-visual content consumption, which intelligent reproduction systems can exploit to give the best possible experience. To investigate media device ownership in the home, media service-types usage and solitary versus group audio/audio-visual media consumption, a survey of UK households with 1102 respondents was undertaken. The results suggest that there is already significant ownership of wireless and smart loudspeakers, as well as other interconnected devices containing loudspeakers such as smartphones and tablets. Questions on group media consumption suggest that the majority of listeners spend more time consuming media with others than alone, demonstrating an opportunity for systems that can adapt to varying audience requirements within the same environment.
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This paper presents a perception based model for calculating the difference between two binaural signals to more accurately represent the perceptual relevance of spectral differences. A basic spectral difference calculation, the difference between the fast Fourier transforms (FFTs) of two audio signals, is not an accurate metric for human perception as the auditory system differs greatly in sensitivity depending on relative amplitude, frequency, and temporal aspects. The presented model is evaluated through objective measures and comparison to the results of a previously published listening test.
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Loudness meters were created to standardize levels in broadcasting (radio and TV), to minimize differences between program level and commercial level. This standard is already used in several countries, but will it be useful for live sound? Will it allow for better mixing results in sound reinforcement situations? The following Engineering Brief aims to answer these questions and provide some considerations for loudness meters use in sound reinforcement.
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A pragmatic approach to 3D sound design is described that employs a minimum number of sound fields captured with tetrahedral microphones. The captured sound fields, each extended in a horizontal and vertical dimension, are combined to provide the essential segments of the entire 360° sound design. Supplemental single-capsule microphones are used as needed for balancing of spaciousness and clarity. A compatible scaling of sound design from 3D to 2D can be easily accomplished without distortion of timbre or space.
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This Engineering Brief charts the story of user-interactivity with recorded music. Audio technologies and creative compositional techniques are discussed with particular regard to scenarios where creativity has driven the demand for technological advance, and vice-versa, where technical advance has enabled new creative-practice approaches. This is contextualized through discussion of relevant implementation in legacy systems, mobile applications, video games, artificial intelligence, and extended realities. In identifying seminal applications of music interactivity from the past and linking them to present capabilities and practices, future trajectories for interactive recorded-music are extrapolated.
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