Sunday, October 2, 9:00 am — 10:30 am (Rm 403B)
P24-1 The Duplex Panner: A Cross-Platform Stereo Widening Tool—Samuel Nacach, Element Audio Group - New York, USA; New York University, Abu Dhabi - Abu Dhabi, UAE
Binaural processing, Ambiophonics, and the Haas effect are some of the most popular methods of achieving 3D audio, virtual space, and wide mixes. However, for commercial music applications Binaural audio is limited by its HRTF and headphone dependency; Ambiophonics by its cross-talk cancellation and a listening sweet-spot; and the Haas effect by its hard pans. To solve this, this paper examines the recently developed Duplex Panner technique to better understand its cross-platform capabilities for playback in both headphone and loudspeaker systems. A subjective experiment comparing processed and unprocessed versions of the same material, along with an in depth analysis of the effects on phase and its psychoacoustics implications will help define the limitations of the Duplex Panner algorithm.
Convention Paper 9672 (Purchase now)
P24-2 Women in Audio: Contributions and Challenges in Music Technology and Production—Marlene Mathew, New York University - New York, NY USA; Jennifer Grossman, New York University - New York, NY USA; Areti Andreopoulou, LIMSI-CNRS - Orsay, France
Even though there is a persistent gender gap, the impact of women in audio continues to grow. The achievements of pioneering women in audio go back to the mid-twentieth century. Their accomplishments in the entertainment and academic sectors have helped pave the way for a record number of women in the next generation of women in audio. This paper presents recent contributions as well as discusses the representation of women in audio, the gender gap and challenges women face in this field. Various options, policies, and initiatives are also proposed with the goal towards gender parity. The authors hope to provide a valuable contribution to the research on women in audio, and in particular women's representation in audio engineering, production, and electronic music.
Convention Paper 9673 (Purchase now)
P24-3 An Evaluation of Two Microphone Techniques for Bleed Reduction Using Independent Component Analysis—Mark Rau, Center for Computer Research in Music and Acoustics, Stanford University - Palo Alto, CA, USA; McGill University - Montreal, QC, Canada; Wieslaw Woszczyk, McGill University - Montreal, QC, Canada
Independent component analysis is tested as an approach to reduce the effects of instrument bleed in a multi-track audio recording. Two microphone techniques are examined for a case with two sound sources. The first technique uses each microphone facing a separate source, while the second uses both microphones facing the same source. The separation of the microphones as well as polarity is altered to observe the effects. Both techniques are tested using a simulation as well as with a physical experiment. The first technique is shown to be effective less than 50% of the time with minimal bleed reduction. The second technique is shown to be effective between 68–96% of the time and can have an average bleed reduction of up to 2 dB with instances up to 4.6 dB.
Convention Paper 9674 (Purchase now)
P24-4 Music Production for Dolby Atmos and Auro 3D—Robert Jay Ellis-Geiger, City University of Hong Kong - Hong Kong, SAR China
This paper explores 3D cinematic spatial audio techniques adapted and developed for Dolby Atmos and Auro 3D by the author for the production of music for a feature film. The main objective was to develop a way of recording and mixing music that could translate to both Dolby Atmos and Auro-3D cinema reproduction systems.
Convention Paper 9675 (Purchase now)
P24-5 Smartphone-Based 360° Video Streaming/Viewing System including Acoustic Immersion—Kenta Niwa, NTT Media Inelligence Laboratories - Tokyo, Japan; Daisuke Ochi, NTT Media Intelligence Laboratories; Akio Kameda, NTT Media Intelligence Laboratories; Yutaka Kamamoto, NTT Communication Science Laboratories - Kanagawa, Japan; Takehiro Moriya, NTT Communication Science Labs - Atsugi-shi, Kanagawa-ken, Japan
In virtual reality (VR), 360º video services provided through head mounted displays (HMDs) or smartphones are widely used. Despite the fact that the user’s viewpoint seamlessly changes, sounds through the headphones are fixed even when images change in correspondence with user head motion in many 360º video services. We have been studying acoustic immersion technology that is achieved by, for example, generating binaural sounds corresponding to the user head motion. Basically, our method is composed of angular region-wise source enhancement using array observation signals, multichannel audio encoding based on MPEG-4 Audio Lossless Coding (ALS), and binaural synthesizing of enhanced signals using head related transfer functions (HRTFs). In this paper, we constructed a smartphone-based real-time system for streaming/viewing 360º video including acoustic immersion and evaluated it through subjective tests.
Convention Paper 9676 (Purchase now)
P24-6 Analysis on the Timbre of Horizontal Ambisonics with Different Decoding Methods—Yang Liu, South China University of Technology - Guangzhou, China; Guoguang Electric Company Limited - Guangzhou, China; Bosun Xie, South China University of Technology - Guangzhou, China
Based on different physical and psychoacoustic considerations, there are various Ambisonics decoding methods. The perceived performances of reproduction depend on the order and decoding method of Ambisonics. The present paper analyzes and compares the timbre coloration in horizontal Ambisonics with basic, maximize energy location vector (max-rE) and in-phase decoding methods, respectively. The binaural loudness level spectra (BLLS) for Ambisonics reproduction are calculated by using Moore’s revised binaural loudness model and then used as the criterion to evaluate the timbre coloration. Results indicate that, overall, the basic decoding method is superior to the other two methods in terms of the deviation of BLLS. This conclusion is valid for Ambisonics with various orders as well as in the central and off-central listening position.
Convention Paper 9677 (Purchase now)
P24-7 Distance Factor for Frontal Sound Localization with Side Loudspeakers—Yuzuru Nagayama, University of Aizu - Aizu-Wakamatsu, Japan; Akira Saji, University of Aizu - Aizuwakamatsu City, Japan; Jie Huang, University of Aizu - Aizuwakamatsu City, Japan
In our laboratory, we conducted auditory experiments to examine elevation localization by changing frequency spectra without using HRTFs. As a result, we achieved elevation localization at (azimuth, elevation) = (0, 0), (0, 30), (0, 60) by two loudspeakers arranged just beside the listener. However, it was only investigated with fixed distance between the ear and the loudspeaker to be 70 cm. When distance was not 70 cm, the elevation perception was unidentified. Therefore, the arrangement of loudspeakers was changed in this research to improve the result. As a result, the rate of in-the-head localization was increased, and the distance of the perceived sound image became shorter and shorter.
Convention Paper 9678 (Purchase now)