Bulk download - click topic to download Zip archive of all papers related to that topic: No Subject Listed Applications in Audio Audio Signal Processing Cinema Sound, Recording and Production Education Perception Room Acoustics Signal Processing Spatial Audio Transducers
Recently, a new generation of spatial audio formats were introduced that include elevated loudspeakers and surpass traditional surround sound formats, such as 5.1, in terms of spatial realism. To facilitate high-quality bitrate-efficient distribution and flexible reproduction of 3D sound, the MPEG standardization group recently started the MPEG-H Audio Coding development for the universal carriage of encoded 3D sound from channel-based, object-based, and HOA-based input. High quality reproduction is supported for many output formats from 22.2 and beyond down to 5.1, stereo, and binaural reproduction—independently of the original encoding format, thus overcoming incompatibility between various 3D formats. The paper describes the current status of the standardization project and provides an overview of the system architecture, its capabilities, and performance.
Click to purchase paper as a non-member or login as an AES member. If your company or school subscribes to the E-Library then switch to the institutional version. If you are not an AES member and would like to subscribe to the E-Library then Join the AES!
This paper costs $33 for non-members and is free for AES members and E-Library subscribers.
Start a discussion about this paper!
The bit rate of a 22.2 multichannel sound (22.2 ch) signal meeting broadcast quality was investigated by preforming several subjective evaluations. 22.2 ch is currently planned to be transmitted by MPEG-4 AAC (advanced audio coding) in 8K Super Hi-Vision broadcast. A subjective evaluation of the basic audio quality of a coded 22.2 ch signal was carried out using 49 stimuli made from a combination of seven bit rates and seven contents. Moreover, a subjective evaluation at two different listening positions and that of a downmixed 5.1 ch signal were also carried out for comparison with that of a 22.2 ch signal at the sweet spot. A bit rate meeting broadcast quality was found from the obtained results.
Click to purchase paper as a non-member or login as an AES member. If your company or school subscribes to the E-Library then switch to the institutional version. If you are not an AES member and would like to subscribe to the E-Library then Join the AES!
This paper costs $33 for non-members and is free for AES members and E-Library subscribers.
Start a discussion about this paper!
For object-based audio an appropriate definition of metadata is needed to ensure flexible playback in any reproduction scenario and to allow for interactivity. Important use-cases for object-based audio and audio interactivity are described and metadata requirements are derived. A metadata scheme is defined that allows for enhanced audio rendering techniques such as content-dependent processing, automatic scene scaling and enhanced level control. Also, a metadata preprocessing logic is proposed that prepares rendering and playout and allows for user interaction with the audio content of an object-based scene. In addition, the paper points out how the metadata can be transported efficiently in a bitstream. The proposed metadata scheme has been adopted and integrated into the currently finalized MPEG-H 3D Audio standard.
Click to purchase paper as a non-member or login as an AES member. If your company or school subscribes to the E-Library then switch to the institutional version. If you are not an AES member and would like to subscribe to the E-Library then Join the AES!
This paper costs $33 for non-members and is free for AES members and E-Library subscribers.
Start a discussion about this paper!
Concert sound reinforcement systems aim at the reproduction of homogeneous sound fields over extended audiences for the whole audio bandwidth. For the last two decades this has been mostly approached by using so called line source arrays for which Wavefront Sculpture Technology (WST) was introduced in the literature. The paper utilizes a signal processing model developed for sound field synthesis in order to analyze and expand WST criteria for straight arrays. Starting with the driving function for an infinite and continuous linear array, spatial truncation and discretization are subsequently taken into account. The role of the involved loudspeakers as a spatial lowpass filter is stressed, which can reduce undesired spatial aliasing contributions. The paper aims to give a better insight on how to interpret the synthesized sound fields.
Click to purchase paper as a non-member or login as an AES member. If your company or school subscribes to the E-Library then switch to the institutional version. If you are not an AES member and would like to subscribe to the E-Library then Join the AES!
This paper costs $33 for non-members and is free for AES members and E-Library subscribers.
Start a discussion about this paper!
The focal shift phenomenon in optics describes how the position of the focus point in a focusing system is not simply defined by geometrical ray-based models but is affected by diffraction and is consequently a function of the size of the lens and the frequency of the light. The same effect is also observed in acoustics when looking at the focused field using physical focusing reflectors. This paper describes the focal shift phenomenon applied to the reproduction of focused sources with sound field synthesis systems, and presents a formula for the prediction of the actual rendered focal point position and also a frequency dependent positional correction for the improved rendering of a focused source with a given loudspeaker setup.
Click to purchase paper as a non-member or login as an AES member. If your company or school subscribes to the E-Library then switch to the institutional version. If you are not an AES member and would like to subscribe to the E-Library then Join the AES!
This paper costs $33 for non-members and is free for AES members and E-Library subscribers.
Start a discussion about this paper!
With the increase of the computational power of DSP’s and CPU’s, impulse responses (IR) and the convolution process are becoming a very popular approach to recreate some audio effects like reverb. But although many IR repositories exist, most IR recordings consider only mono or stereo. This paper presents an approach for impulse response upmixing using particle systems. Using a reverse engineering process, a particle system is created, capable of reproducing the original impulse response. By re-rendering the obtained particle system with virtual microphones, an upmixing result can be obtained. Depending on the type of virtual microphone, several different output formats can be supported, ranging from stereo to surround, and including binaural support, Ambisonics, or even custom speaker scenarios (VBAP).
Click to purchase paper as a non-member or login as an AES member. If your company or school subscribes to the E-Library then switch to the institutional version. If you are not an AES member and would like to subscribe to the E-Library then Join the AES!
This paper costs $33 for non-members and is free for AES members and E-Library subscribers.
Start a discussion about this paper!
Recent research of audio industry employers indicated that their new hires lacked communication skills, which the employers deemed valuable for their new hire’s success. In this research audio engineering technology (AET) educators were surveyed about the communication skills focused on in their classrooms, focus of their departments/ institutions, and their internship programs. The quantitative data suggested that both educators and their institutions lacked a focus on apprenticeship skills. Also, fewer than half of the institutions required an internship. Further research must be conducted to understand what these educators reported and how it affects AET education as a whole.
Click to purchase paper as a non-member or login as an AES member. If your company or school subscribes to the E-Library then switch to the institutional version. If you are not an AES member and would like to subscribe to the E-Library then Join the AES!
This paper costs $33 for non-members and is free for AES members and E-Library subscribers.
Start a discussion about this paper!
The use of collaborative learning techniques is rapidly becoming a popular method for teaching 21st century skills across the United States. The term “Partnering” has been used to refer to different types of collaborative learning; most recently being defined by Marc Prensky in his book, Teaching Digital Natives, Partnering for Real Learning. This paper addresses the need for more established methods for teaching music technology skills, concepts, and theories that utilize a collaborative, partnering style of instruction. Specifically, these partnering methods are intended for students in high school and higher education.
Click to purchase paper as a non-member or login as an AES member. If your company or school subscribes to the E-Library then switch to the institutional version. If you are not an AES member and would like to subscribe to the E-Library then Join the AES!
This paper costs $33 for non-members and is free for AES members and E-Library subscribers.
Start a discussion about this paper!
If you are in the audio industry, you analyze recordings. What do you listen for? What do you hear? Why are you listening? There are many relevant answers to these questions depending on one’s role in the industry or purpose for listening. This paper will explore the process of recording analysis and the idea of “pathways” through the many elements, dimensions, and functions that it might address; pathways that can be modified to suit the material and purpose for the analysis. Music recording will then be used as an example to bring a focus to the process. “Recording analysis” will then be the study of sound qualities of recordings and the interrelationships of those qualities and the music’s materials and structure and its text.
Click to purchase paper as a non-member or login as an AES member. If your company or school subscribes to the E-Library then switch to the institutional version. If you are not an AES member and would like to subscribe to the E-Library then Join the AES!
This paper costs $33 for non-members and is free for AES members and E-Library subscribers.
Start a discussion about this paper!
A team of researchers from the University of Colorado Denver Recording Arts program visited the Denver School of the Arts high school in an effort to discover (1) whether students could detect an audible difference between music encoded as AAC and MP3 when comparing them to the original WAV file, (2) whether a trend in music career choices would appear based on gender, and (3) whether this visit could serve as an ongoing recruitment activity. The results presented here could be useful for other universities who want to engage in these activities. We will also consider the time, cost, and impact of a day-long visit.
Click to purchase paper as a non-member or login as an AES member. If your company or school subscribes to the E-Library then switch to the institutional version. If you are not an AES member and would like to subscribe to the E-Library then Join the AES!
This paper costs $33 for non-members and is free for AES members and E-Library subscribers.
Start a discussion about this paper!
