AES Dublin 2019
Paper Session P04
P04 - Spatial Audio
Wednesday, March 20, 14:30 — 16:00 (Meeting Room 3)
Jorge Medina Victoria, Hochschule Darmstadt/CIT - Darmstadt, Germany; Cork Institute of Technology - Cork, Ireland
P04-1 Toward Six Degrees of Freedom Audio Recording and Playback Using Multiple Ambisonics Sound Fields—Eduardo Patricio, Zylia Sp. z o.o. - Poznan, Poland; Andrzej Ruminski, Zylia sp. z.o.o. - Poznan, Poland; Adam Kuklasinski, Zylia sp. z o. o. - Poznan, Poland; Lukasz Januszkiewicz, Zylia Sp. z o.o. - Poznan, Poland; Tomasz Zernicki, Zylia sp. z o.o. - Poznan, Poland
This paper describes a strategy for recording sound and enabling six-degrees-of-freedom (6DoF) playback making use of multiple simultaneous and synchronized higher-order ambisonics (HOA) recordings. For the evaluation of the proposed approach a 3D audio-visual navigable playback system was implemented. Subjective listening tests were conducted presenting three distinct scenarios, one using spatialized mono sources and the other two interpolated listening points from 1st and 3rd order multiple ambisonics sound fields. The obtained results demonstrate that HOA recordings are suitable for reproduction of 6DoF immersive audio scenes.
Convention Paper 10141 (Purchase now)
P04-2 Recording and Composing Site-Specific Spatial Music for 360 Video—Enda Bates, Trinity College Dublin - Dublin, Ireland; Sebastian Csadi, Trinity College Dublin - Dublin, Ireland; Hugh O'Dwyer, Trinity College - Dublin, Ireland; Luke Ferguson, Trinity College Dublin - Dublin, Ireland; Francis M. Boland, Trinity College Dublin - Dublin, Ireland
This paper documents the 360 video and audio recording of a newly composed work for saxophone quintet, performed in four distinct locations with differing spatial distributions of performers. The potentially site-specific nature of instrumental spatial music is first discussed via a number of historical examples. A comparative analysis of the recordings of this new work from each location is then performed, and the influence of the acoustic environment on different spatial effects such as mobile performers at varying distances, spill, and spatial trajectories is investigated. The analysis suggests that for exterior locations, localization accuracy in first order Ambisonic recordings is adequately maintained, even when performers are placed at large distances. In addition, the presence or lack of reverberation is shown to strongly influence the effectiveness of spill effects or spatial trajectories in instrumental spatial music compositions.
Convention Paper 10142 (Purchase now)
P04-3 3D Ambisonic Decoding for Stereo Loudspeakers with Headtracking—Dylan Menzies, University of Southampton - Southampton, UK; Filippo Maria Fazi, University of Southampton - Southampton, Hampshire, UK
Compensated Amplitude Panning (CAP) is a spatial audio reproduction method for loudspeakers that takes the listener head orientation into account. Using CAP it is possible to produce stable images in all directions using only two loudspeakers. In its original formulation CAP is inherently an object-based method, with each image produced separately. Here a natural method is presented for dynamically decoding a first order Ambisonic encoding that is equivalent to using CAP to reproduce the constituents of the encoding. This has the advantage of channel-based methods that complex scenes can be reproduced with little cost, and existing Ambisonic encodings, such as those used in 360º video, can be reproduced directly.
Convention Paper 10143 (Purchase now)