Bulk download - click topic to download Zip archive of all papers related to that topic: No Subject Listed Applications in Audio Audio Signal Processing Education and Perception Perception Recording and Production Room Acoustics Semantic Audio Sound Localization and Separation Spatial Audio Transducers
NHK is planning 8K Super Hi-Vision (SHV) broadcasting with 22.2 multichannel sound as a new broadcasting service. The current loudness measurement algorithm, however, are only standardized up to 5.1 channels in Recommendation ITU-R BS.1770. To extend the algorithm beyond 5.1 ch, we conducted a subjective loudness evaluation of various program materials and formats. The results showed that different formats differed only slightly. Furthermore, we measured objective loudness values on the basis of an algorithm compatible with the current algorithm and found that the objective loudness values had a good correlation with the subjective loudness values.
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The topic of Dialogue Enhancement and personalization of audio has recently received increased attention. Both hearing-impaired and normal-hearing audience benefit, for example, from the possibility of boosting the commentator speech to minimize listening effort, or to attenuate the speech in favor of sports stadium atmosphere in order to enhance the feeling of being there. In late 2014, the ISO/MPEG standardization group made available a new specification, Spatial Audio Object Coding for Dialogue Enhancement (SAOC-DE), which was closely derived from the well-known MPEG-D Spatial Audio Object Coding (SAOC). This paper describes the architecture and features of the new system. The envisioned applications will be discussed and the performance of the new technology is demonstrated in subjective listening tests.
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Arguments can be put forward for the separation of direct and reflected components of the sound field and reproducing them through appropriate transducers, but there is no definite opinion about that. In this work the perceptual effect of separation in commonly used 5.0 and 7.0 multichannel systems was investigated. Four listening experiments were performed involving several schemes of separation and a variety of experimental conditions. The listeners consistently preferred some schemes involving separation to schemes without separation.
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The binaural recordings obtained using an acoustic manikin produce a realistic sound immersion played through high quality headphones. However, most people commonly use headphones of inferior quality as the ones provided with smartphones or music players. Factors such as frequency response, distortion, and the disparity between the left-right transducers could be some of the degrading factors. This work lays the foundation for a strategy for studying what are the factors that affect the end result and what level do. A first experiment focuses on the analysis of how the disparity in levels between the two transducers affects the final result. A second test studies the influence of the frequency response. A third test analyzes the effects of distortion using a Volterra kernels scheme for the simulation of the distortion using convolutions. The results of this work reveal how disparity between both transducers can affect the perception of direction. In the case of frequency response the results are more difficult to quantify and further work will be necessary. Finally the study reveals that the distortion produced by the range of headphones tested does not affect to the perception of binaural sound.
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While it has been known for years that head-tracking can significantly improve binaural rendering, it has not been widely used in consumer applications. The goal of the proposed techniques is to leverage head tracking, while making it more usable for mobile applications, where the sound image shall not have an absolute position in space. Relative head tracking keeps the sound image in front, while reducing the effect of head movements to only small fluctuations. Relative head tracking can be implemented with only a gyrometer; there is no need for absolute direction. An even more economical technique with the goal to improve binaural rendering is pseudo head tracking. It generates small head movements using a random process without resorting to a gyroscope. The results of a subjective test indicate that both relative and pseudo head tracking can contribute to spaciousness and front/back differentiation.
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This paper demonstrates the effectiveness of ear training in lectures on audio processing conducted over the 2013 and 2014 academic terms. Student understanding of the lecture content was assessed by comparing scores of written tests that covered the sound quality of perceptual audio codecs and other topics, which were administered after lectures with and without ear training on identifying bit rates of sound files. The same approach was applied to a lecture on audio digitizing and ear training on identifying sampling frequencies. The test scores of assessments that focused on the sound quality of perceptual audio codecs were significantly higher among students who had participated in ear training compared to those who had not participated in such training. In contrast, no significant difference was found in the group scores of participants tested after ear training on identifying sampling frequency. The effectiveness of ear training being limited to perceptual codings was investigated in terms of prior knowledge of the technical terms.
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Recently, the improvement of network resources enables us to distribute the contents in real-time. This paper presents the low-delay coding of applause sound and hand-clapping sound with less parameters by means of synthesizing these sounds at the receiver site. We found that number of people clapping their hands were corresponding to a sound volume of applause. In other words, no one considers who is clapping. Additionally, on the hand-clapping sound, the time interval of clapping also should be important. Based on such information, preliminary experiments confirm that our approach, which synthesize applause and hand-clapping sound from a few parameters, successfully generates natural applause and hand-clapping sounds.
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High resolution audio (HRA) becomes increasingly popular both for music production and the consumers. It enables to record a music performance in a wide-band and precise digital audio format. It is, however, unclear in its perceptual advantage under some listening environments. In this study listening tests were carried out inside cars where 34 participants listened to the same music in four different audio formats. The participants chose an audio format with better quality in paired comparison among 192 kHz/24 bits PCM, 48 kHz/16 bits PCM, and two kinds of lossy-compressed MPEG audio formats. The participants, who are familiar with HRA and live music performance, could significantly discriminate among the audio formats.
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Typical electric guitar timbre could be classified into three classes according to amount of distortion. Timbre with less distortion is called "Clean" and heavily distorted timbre is called "Distorted." Timbre between "Clean" and "Distorted" is called "Crunch." To investigate the factors that guitar players perceive depending on amount of distortion, semantic differential analysis using eight bipolar adjective scales was employed. Twenty guitar players including six professionals played their instruments through a guitar amp with nine different distortion level settings. Two factors were found in factor analysis, and "Clean" and "Distorted" were located opposite to each other. "Crunch" was located in the middle of latent factors and each anchoring adjectives used in the evaluation. Also the result of regression analysis indicated "Activeness Factor" was the reliable factor corresponding to the amount of distortion.
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The paper presents results of research on an influence of Temporary Threshold Shift (TTS) on the detection of changes in timbre of musical samples. The experiment was carried out with conditions that normally exist in a studio when sound material is recorded and mixed. The level of sound exposure that represents the noise signal is 90 dB, and this is an average value of sound level existing in control room. This musical material may be treated as a noise so TTS phenomenon may occur after several time durations: 60, 90, and 120 minutes. Ten subjects participated in the main part of the experiment and all of them have the normal hearing thresholds. The stimuli contained the musical material with introduced changes in timbre up to +/–6 dB in low (100 Hz), middle (1 kHz), and high frequency (10 kHz) regions. It turned out that listening to the music with an exposure of 90 dB for 1 hour influences the hearing thresholds for middle frequency region (about 1–2 kHz); and this has been reflected in a perception of timbre changes: after 1 hour listening the changes of spectrum in middle-frequencies region are perceived with a threshold of 3 dB while the changes of low and high ranges of spectrum were perceived with the thresholds of 1.8 and 1.5 dB, respectively. After the longer exposure, the thresholds shifted up to 3.5 dB for the all investigated stimuli.
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