AES Milan 2018
Paper Session P16
P16 - Spatial Audio-Part 3
Friday, May 25, 08:45 — 10:45 (Scala 4)
Ville Pulkki, Aalto University - Espoo, Finland
P16-1 Surround with Depth on First-Order Beam-Controlling Loudspeakers—Thomas Deppisch, University of Technology - Graz, Austria; University of Music and Performing Arts Graz - Graz, Austria; Nils Meyer-Kahlen, University of Technology Graz - Graz, Austria; University of Music and Performaing Arts Graz; Franz Zotter, IEM, University of Music and Performing Arts - Graz, Austria; Matthias Frank, University of Music and Performing Arts Graz - Graz, Austria
Surround systems are typically based on fixed-directivity loudspeakers pointing towards the listener. Laitinen et al. showed for a variable-directivity loudspeaker that directivity control can be used to influence the distance impression of the reproduced sound. As we have shown in a listening experiment, using beam-controlling loudspeakers, stable auditory events at directions additional to the loudspeaker positions can be created by exciting specific wall reflections. We use these two effects to enable distance control and increase the number of effective surround directions in two different surround setups. We present IIR filter design derived from a physical model, which achieves low frequency beam-control for our novel cube-shaped 4-channel loudspeakers.
Convention Paper 9977 (Purchase now)
P16-2 A Method to Reproduce a Directional Sound Source by Using a Circular Array of Focused Sources in Front of a Linear Loudspeaker Array—Kimitaka Tsutsumi, NTT Service Evolution Laboratories - Yokosuka-shi, Kanagawa, Japan; University of Electro-Communications - Japan; Yoichi Haneda, The University of Electro-Communications - Chofu-shi, Tokyo, Japan; Ken'ichi Noguchi, NTT Service Evolution Laboratories - Yokosuka, Japan; Hideaki Takada, NTT Service Evolution Laboratories - Kanagawa, Japan
We propose a method to create a directional sound source in front of a linear loudspeaker array. The method creates a virtual circular loudspeaker array comprising multiple focused sources to reproduce directivity patterns. In the proposed method, the driving functions for the secondary sources are defined as a cascade combination of two driving functions: The first one for directivity control derived by an analytical conversion of circular harmonic modes, and the second one for creating focused sources. The proposed driving functions can deal with directivity rotation by changing the position of focused sources, thereby avoiding recalculations of driving functions. Using computer simulation, we obtained accuracy and algorithmic complexity comparable or better than those of a conventional method.
Convention Paper 9978 (Purchase now)
P16-3 Subjective Evaluation of Multichannel Upmix Method Based on Interchannel Coherent Component Extraction—Yuta Hashimoto, University of Toyama - Toyama, Japan; Yasuto Goto, University of Toyama - Toyama, Japan; Akio Ando, University of Toyama - Toyama, Japan
We developed a method that extracted the interchannel coherent component from multichannel audio signal. In this paper two subjective evaluation experiments for testing the upmix performance of our method are shown. In the first experiment, stereo signals were upmixed to 4-channel signals in which channels were set at +-30° and +-60°. The subjective evaluation with MUSHRA method showed that our method was superior to the conventional methods. In the second experiment, signals of 4 channels located at +-30° and +-110° were upmixed to 8-channel signals in which four of the channels were set at the upper layer. The subjective evaluation showed that there were no significant differences between the upmixed 8-channel sound and the original 4-channel sound in terms of spatial impression.
Convention Paper 9979 (Purchase now)
P16-4 Comparison between Different Microphone Arrays for 3D-Audio—Lucca Riitano, University of Applied Sciences Darmstadt - Darmstadt, Germany; Jorge Enrique Medina Victoria, University of Applied Sciences Darmstadt - Darmstadt, Germany
The growing need of 3D recordings for film, virtual reality, and games started the development and research on different microphone arrays for 3D-Audio such as the ORTF-3D, MS-3D, and a wide range of experimental and particular setups. Comparison between the different microphone arrays has been rather the exception. For this paper three different arrays are placed together to record a piece of music. Based on a listening test, the advantages and disadvantages between the three different microphone arrays are compared and discussed in order to find the most suitable array for music recording in 3D.
Convention Paper 9980 (Purchase now)