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Audio processing in consumer devices is incorporating more spatial information. Performance assessment of such devices requires accurate automated simulation of real world acoustic scenarios. This paper reviews the design and validation of a sound field duplication system for this purpose. Theoretical considerations provide guidance on the design and expected performance; an objective measure of the array setup is used to validate construction; and a subjective test approach is proposed to verify accurate duplication is achieved. The key contribution of the work is to introduce and demonstrate the concept of generational loss for comparative performance assessment of sound field duplication. This approach will be used to further investigate robustness and choose from alternative reconstruction approaches towards creating testing standards.
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Low frequency personal sound zones can be created by controlling the squared sound pressure in separate spatial confined control regions. Several methods have been proposed for realizing this scenario, with different constraints and performance. Extrapolating knowledge of the resulting acoustic separation from predicted results is a challenge as the obtainable performance relies on both physical setup and the chosen evaluation procedure. In this paper, the influence of the evaluation method is highlighted. Using the proposed evaluation four different control strategies for generation of low frequency sound zones are compared in an experimental study with eight woofers surrounding two control zones.
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The influence of loudspeaker nonlinear distortion on personal sound zones is studied through simulations under anechoic conditions. Two sound zones, one bright, one dark are created by four linear loudspeaker arrays placed at the edges of a 2.5m x 2.5m square. Two methods for controlling the zones, acoustic contrast control and planarity control are employed. Loudspeaker nonlinear distortion is modeled with either second or third order nonlinearities. Without nonlinear distortion, simulations produce a contrast of 80.0 dB for both methods. When nonlinear distortion is added, the contrast is reduced mainly due to new, uncontrolled components in the dark zone. The impact of nonlinear distortion can be tuned through regularization governing the loudspeaker control effort and the contrast can be optimized.
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To realize a personal audio, zone control techniques with loudspeaker array have been used. Previously frequency domain control methods formed the mainstream, however recently, time domain control methods have attracted attention. One of causes is non-causality of frequency domain control results, time domain control can overcome that. This research studied performance comparison of filters designed in time and frequency domains for personal audio through numerical simulations. Filters are designed by same objective function with bright zone response and input power constraints. For comparison of performances, time domain response evaluation is conducted.
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Planarity panning (PP) and planarity control (PC) have previously been shown to be efficient methods for focusing directional sound energy into listening zones. In this paper, we consider sound field control for two listeners. First, PP is extended to create spatial audio for two listeners consuming the same spatial audio content. Then, PC is used to create highly directional sound and cancel interfering audio. Simulation results compare PP and PC against pressure matching (PM) solutions. For multiple listeners listening to the same content, PP creates directional sound at lower effort than the PM counterpart. When listeners consume different audio, PC produces greater acoustic contrast than PM, with excellent directional control except for frequencies where grating lobes generate problematic interference patterns.
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Personalized audio is the creation of independent sound zones. The zones are distinguished as the bright zone and the dark zone. The desired audio signal should be audible in the bright zone and reduced in the dark zone. Known methods are the pressure matching method, acoustic contrast maximization, beamforming, and high-pass filtering of cylindrical harmonic expansions. Several challenges are related to personalized audio, including the sound pressure level difference between bright and dark zones. This paper presents a theoretical investigation of a new potential method to achieve personalized audio: Generalized singular value decomposition of multichannel transfer matrices for the automatic creation of source distributions that independently operate on each zone. Results of simulations provide convincing results.
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The creation of personal sound zones is a field of research which triggers more and more interest in the audio community. In this presentation it will be shown that, based on an already established algorithm, able to generate the desired filter matrix, which ultimately realizes the desired personal sound zones, an improvement can be achieved, by introducing a special kind of delay compensation of the room impulse responses, on which the algorithm is based on. Thereby the improvement mainly affects the upper spectral part of the acoustical performance at the bright zones.
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Personal audio systems generate a local sound field for a listener while attenuating the sound energy at pre-defined quiet zones. Their performance can be sensitive to errors in the acoustic transfer functions between the sources and the zones. In this paper, we model the loudspeakers as a superposition of multipoles with a term to describe errors in the actual gain and phase. We then propose a design framework for robust reproduction, incorporating additional prior knowledge about the error distribution where available. We combine acoustic contrast control with worst-case and probability-model optimization, exploiting knowledge of the error distribution. Monte-Carlo simulations over 10000 test cases show that the method increases system robustness when errors are present in the assumed transfer functions.
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Scene-based Audio is differentiated from Channel-based and Object-based Audio in that it represents a complete soundfield without requiring loudspeaker feeds or audio-objects with associated meta-data to recreate the soundfield during playback. Recent activity at MPEG, ATSC and DVB has seen proposals for the use of Higher-Order-Ambisonics (HOA) for Scene-based Audio. The many benefits of Scene-base Audio is countered by the bandwidth requirements as well the ability to transport the multitude of HOA coefficient channels through current day Television plants. In this paper, we report on research and standardization activities directed at solving these issues. These solutions enable the Television broadcast and delivery of both live-captured and artistically-created sound scenes using HOA.
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High-order Ambisonics (HOA) presents spatial sound by controlling the sound field inside a compact region. Interactive applications require the listener to move freely; therefore, the listening zone must be shifted accordingly. Dynamic HOA systems face two challenges. First, the angular distribution of the loudspeakers depends on the listener’s viewpoint, requiring different decoders as they move. Second, the presented sound field must gradually change, matching what would be heard in the actual world. This research tackles both problems with a modified HOA decoder that makes use of spherical harmonic shift operations. The proposal is evaluated by considering a 157-loudspeaker array. Results show no significant degradation in reproduction accuracy as the listening region is shifted, compared with the accuracy of conventional HOA.
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