Bulk download - click topic to download Zip archive of all papers related to that topic: Assessment Audio and Games DSP: Part 1 DSP: Part 2 E-Brief Poster Session 1 E-Brief Poster Session 2 Hearing/Perception Industry Issues Loudspeaker: Part 3 Loudspeakers and Assistive Technologies Loudspeakers: Part 1 Loudspeakers: Part 2 Machine Learning: Part 1 Machine Learning: Part 2 Microphones and Circuits MIR Perception Physical Systems and Circuits Poster Session 1 Poster Session 2 Poster Session 3 Poster Session 4 Production and Simulation Production and Synthesis Room Acoustics Spatial Audio Spatial Audio and Acoustics Speech
Ambisonics Audio has become the primary format to transmit and reproduce audio in immersive or interactive content including 360 video and virtual reality due to its flexibility to be decoded to various speaker configuration and listener’s orientation. However, one of the drawbacks of encoding a sound field to Ambisonics audio is the loss of its spatial precision. Higher order Ambisonics has been developed to use more channels in exchange of better precision. In this brief we present a method to detect and extract directional sound from an encoded Ambisonics mix. Improved extraction of the directional signal can improve the performance of other systems, for example the spatial precision during reconstruction.
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Is there an appropriate level for the height channels in an immersive/3D presentation of recorded music when those channels are used speci?cally for ambience or spatial information? This paper describes an interactive listening test in which expert listeners were directed to manipulate and set the level for four height channels in the upper ring of a 9.1 channel 3D mix (traditional 5.1 surround sound with the addition of four height channels; front L/R, and rear L/R). Stimuli consisted of three musical excerpts-solo piano, string trio, and orchestra. Results were analyzed for mean level and overall variance as a measure of consistency of level set over multiple trials.
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Spatial audio coding becomes more important for future audio technology as the Ultra High Definition TV (UHDTV) is ready to enter the market, which is particularly pioneered by engineers in Japan. In this work a method of audio data hiding (steganography) is proposed to be integrated in an MPEG Surround (MPS) encoder, a standard based on the principle of spatial audio coding. A new Reverse One-To-Two (R-OTT) module is introduced with a capability of hiding a short important and secret data or information. This information is embedded in the least signi?cant bit (LSB) of the spatial parameter of the MPS bit stream. The experiments show that the embedding data do not significantly decrease the quality of the transmitted audio signals.
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The personal audio system to generate different sound conditions for each seat in a vehicle cabin is the representative application of multi-zone sound field control. Here, the effectiveness validation of source positions and the robustness of estimated solutions are investigated for the design of a multi-zone control system in a vehicle cabin. To quantify the efficiency of source position, the linear independency test of transfer matrix between the candidate positions of sources and listener is conducted, and an efficient position is selected by the quantified value estimated by the effective independence method. The dummy head source system is applied to measure the transfer matrix efficiently. With the properly selected source positions, it is observed that the control performance is prominent and robust.
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The goal of this Engineering Brief is to make an insight into the dynamics of violin resonances frequency change while playing the instrument. It was inspired by the experiments of Tai and Chung performed on the individual violin sounds of a scale and associated them with formants of human singing voices. The excerpt of the “Sarabande from Partita d-minor” BWV 1004 by Johann Sebastian Bach has been analyzed from the point of view of its predominant formants within 0-5 kHz band. Violin sounds from AMATI database have been used in experiments.
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There has never been more demand for high quality audio studio facilities than there is today. The growth in music recording and production, sound for picture, and gaming are among the areas that are showing increasing demand for accurate studio acoustics. While equipment has improved in performance terms with significant reductions in cost; the approach to designing and building a professional recording/mixing room is unchanged since the 1970s. However, the demands on facilities to provide fully calibrated and accurate acoustic environments does not allow for the outdated, traditional methods of designing and building critical audio facilities. Time to move on!
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It has been well established that equal loudness normalization can produce a perceptually appropriate level balance in an automated mix. Previous work assumes that each captured track represents an individual sound source. In the context of a live drum recording this assumption is incorrect. This paper will demonstrate an approach to identify the source interference and adjust the source gains accordingly, to ensure that tracks are all set to equal perceptual loudness. The impact of this interference on the selected gain parameters and resultant mixture is highlighted.
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VHAP (virtual hemispherical amplitude panning) is a method developed to create an elevated phantom source on a virtual upper-hemisphere with only four ear-height loudspeakers. This engineering brief introduces a new VST plug-in for VHAP and evaluates the performance of the binaural rendering of VHAP with a simple but effective distance control method. Listening test results indicate that the binaural mode achieves the externalization of elevated phantom images in various degrees of perceived distance. VHAP is considered to be a cost-efficient and effective method for 3D panning in virtual reality applications as well as in horizontal loudspeaker reproduction. The plugin is available for free download in the Resources section at www.hud.ac.uk/apl.
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A web-based interactive tool that facilitates microphone array design and phantom image prediction is presented within this brief. Originally a mobile app, this web version of MARRS (Microphone Array Recording and Reproduction Simulator) provides greater accessibility through most web browsers and further functionality for establishing the optimal microphone array for a desired spatial scene. In addition to its novel psychoacoustic algorithm based on interchannel time-level trade-offs for arbitrary loudspeaker angles, another main feature allows demonstration of the phantom image scene through virtual loudspeaker rendering and room simulation via the Web Audio API. The current version of the MARRS web app is available through the Resources section of the APL Website: http://www.hud.ac.uk/apl
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Immersive environmental soundscape capture and annotation is a growing area of audio engineering and research with applications in the reproduction of immersive sound experiences in AR and VR, sound classification, and environmental sound archiving. This Engineering Brief introduces CityTones as a crowdsourced repository of soundscapes captured using immersive sound capture methods that the audio community can contribute to. The database will include descriptors containing information about the technical details of the recording, physical information, subjective quality attributes, as well as sound content information.
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