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J. Francombe, T. Brookes, R. Mason, R. Flindt, P. Coleman, Q. Liu, and P. Jackson, "Production and Reproduction of Program Material for a Variety of Spatial Audio Formats," Engineering Brief 199, (2015 May.). doi: J. Francombe, T. Brookes, R. Mason, R. Flindt, P. Coleman, Q. Liu, and P. Jackson, "Production and Reproduction of Program Material for a Variety of Spatial Audio Formats," Engineering Brief 199, (2015 May.). doi:
Abstract: For subjective experimentation on 3D audio systems, suitable program material is needed. A large-scale recording session was performed in which four ensembles were recorded with a range of existing microphone techniques (aimed at mono, stereo, 5.0, 9.0, 22.0, ambisonic, and headphone reproduction) and a novel 48-channel circular microphone array. Further material was produced by remixing and augmenting pre-existing multichannel content. To mix and monitor the program items (that included classical, jazz, pop, and experimental music, and excerpts from a sports broadcast and a film soundtrack), a flexible 3D audio reproduction environment was created. Solutions to the following challenges were required: level calibration for different reproduction formats; bass management; and adaptable signal routing from different software and file formats.

@article{francombe2015production,
author={francombe, jon and brookes, tim and mason, russell and flindt, rupert and coleman, philip and liu, qingju and jackson, philip},
journal={journal of the audio engineering society},
title={production and reproduction of program material for a variety of spatial audio formats},
year={2015},
volume={},
number={},
pages={},
doi={},
month={may},} @article{francombe2015production,
author={francombe, jon and brookes, tim and mason, russell and flindt, rupert and coleman, philip and liu, qingju and jackson, philip},
journal={journal of the audio engineering society},
title={production and reproduction of program material for a variety of spatial audio formats},
year={2015},
volume={},
number={},
pages={},
doi={},
month={may},
abstract={for subjective experimentation on 3d audio systems, suitable program material is needed. a large-scale recording session was performed in which four ensembles were recorded with a range of existing microphone techniques (aimed at mono, stereo, 5.0, 9.0, 22.0, ambisonic, and headphone reproduction) and a novel 48-channel circular microphone array. further material was produced by remixing and augmenting pre-existing multichannel content. to mix and monitor the program items (that included classical, jazz, pop, and experimental music, and excerpts from a sports broadcast and a film soundtrack), a flexible 3d audio reproduction environment was created. solutions to the following challenges were required: level calibration for different reproduction formats; bass management; and adaptable signal routing from different software and file formats.},}

TY - paper
TI - Production and Reproduction of Program Material for a Variety of Spatial Audio Formats
SP - EP -
AU - Francombe, Jon
AU - Brookes, Tim
AU - Mason, Russell
AU - Flindt, Rupert
AU - Coleman, Philip
AU - Liu, Qingju
AU - Jackson, Philip
PY - 2015
JO - Journal of the Audio Engineering Society
IS -
VO -
VL -
Y1 - May 2015 TY - paper
TI - Production and Reproduction of Program Material for a Variety of Spatial Audio Formats
SP - EP -
AU - Francombe, Jon
AU - Brookes, Tim
AU - Mason, Russell
AU - Flindt, Rupert
AU - Coleman, Philip
AU - Liu, Qingju
AU - Jackson, Philip
PY - 2015
JO - Journal of the Audio Engineering Society
IS -
VO -
VL -
Y1 - May 2015
AB - For subjective experimentation on 3D audio systems, suitable program material is needed. A large-scale recording session was performed in which four ensembles were recorded with a range of existing microphone techniques (aimed at mono, stereo, 5.0, 9.0, 22.0, ambisonic, and headphone reproduction) and a novel 48-channel circular microphone array. Further material was produced by remixing and augmenting pre-existing multichannel content. To mix and monitor the program items (that included classical, jazz, pop, and experimental music, and excerpts from a sports broadcast and a film soundtrack), a flexible 3D audio reproduction environment was created. Solutions to the following challenges were required: level calibration for different reproduction formats; bass management; and adaptable signal routing from different software and file formats.