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2010
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5 pages
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Blind bandwidth extension techniques are used to recreate high frequency bands of a narrowband audio signal. These methods allow to increase the perceived quality of signals that are transmitted via a narrow frequency band as in telephone or radio communication systems. We evaluate the use of blind bandwidth extension methods in 3D audio applications, where high frequency components are necessary to create an impression of elevated sound sources.
Computer Music Journal, 1995
Acknowledgments About the Cover Cylindrical Surface Plot of the Head-Related Transfer Function: Magnitude Response as a Function of Frequency over Azimuth Angle on a Radial Axis, by William Martens of E-mu/Creative Technology Center.
Producing Music, 2019
Arguably the most rapidly expanding market for audio production is that of 3-D audio – 360° spatial audio with representation of height. Such playback is becoming commonplace in cinemas, and multi-speaker home setups are following. As these mature, greater convenience and enhanced functionality will likely increase domestic uptake. In parallel, headphone-based 3D is experiencing an unprecedented rate of development. Headphones with spaced multiple drivers are emerging, accelerometers are being incorporated to facilitate head-tracking-driven audio panning, and binaural algorithms are steadily improving. The principal exponents of such playback are virtual and augmented reality. While gaming will lead this market, soon the applications will proliferate into many areas of daily life – from productivity to education, through social networking to music playback, and advertising will pervade these new media. All of these applications require the production of audio, and this chapter explo...
2000
The antique stereophonic recording and playback format is going to be replaced by new surround sound formats in the near future. At the moment, various surround techniques are being investigated in many artistic and technical applications. The main concern is to find an appropriate recording and playback format which supports the natural spatial hearing cues. Therefore, surround sound systems should
Acoustical Science and Technology, 2020
There is renewed interest in virtual auditory perception and spatial audio arising from a technological drive toward enhanced perception via mixed-reality systems. Because the various technologies for three-dimensional (3D) sound are so numerous, this tutorial focuses on underlying principles. We consider the rendering of virtual auditory space via both loudspeakers and binaural headphones. We also consider the recording of sound fields and the simulation of virtual auditory space. Special attention is given to areas with the potential for further research and development. We highlight some of the more recent technologies and provide references so that participants can explore issues in more detail.
2012
The use of perceptually based (lossy) audio codecs, like MPEG 1-layer 3 (`mp3'), has become very popular in the last few years. However, at very high compression rates the perceptual quality of the signal is degraded, which is mainly exhibited as a loss of high frequencies. We propose an efficient algorithm for extending the bandwidth of an audio signal, with the goal to create a more natural sound. This is done by adding an extra octave at the high frequency part of the spectrum. The algorithm uses a non-linearity to generate the extended octave, and can be applied to music as well as speech. This also enables application to fixed or mobile communication systems. BACKGROUND Often it is desirable to extend the bandwidth of an audio (music or speech) signal. This may be because at some point during the transmission from source to receiver the signal's bandwidth has been decreased ; examples are telephone communication, perceptual coding at very high compression ratex, etc. For speech, it has been established by the ITU [1] that wideband speech (50-7000 Hz) is preferred over narrow-band speech (300-3400 Hz). For music the perceptual difference may be even larger, although a formal test has not been done. In this paper we shall consider only high-frequency bandwidth extension; Aarts et al. [2] describe an algorithm for low-frequency bandwidth extension, with a focus on speech applications. In the following we shall address more precisely the objectives and constraints of our research, followed by a description of the proposed bandwidth extension algorithm .
2010
Very little research has been conducted so far into the general problem of producing a 3D soundscape consistent with the visual content of a 3D-stereoscopic movie. First, the following 3D sound reproduction techniques are reviewed: Vector Base Amplitude Panning (VBAP), binaural and transaural techniques, Wave Field Synthesis (WFS) and Ambisonics. Second, the new challenges of 3D cinema are introduced. Third, we reconsider each 3D audio technique in the light of these challenges. We find that, at least in theory, a completely personalized soundscape is needed and that, due to various technical reasons, only binaural reproduction through headphones is able to accurately produce a 3D soundscape consistent with a 3D-stereo movie in a theater environment.
… . on Auditory Display, 2002
Commercial, off-the-shelf (COTS) 3D sound cards offer a readily available low-cost option to consumers, researchers, and developers of 3D auditory displays. However, drawbacks of current 3D sound cards include computing platform support limitations, Application Programming Interface (API) complexity, vendor instabilities, and the lack of individualized Head-Related Transfer Functions (HRTFs). To address these issues, we have developed a client/server system utilizing COTS 3D sound cards and have investigated a method of visualfeedback training for 3D sound localization.
2013 IEEE International Conference on Acoustics, Speech and Signal Processing, 2013
Three dimensional surround sound reproduction over large areas is a prevailing challenge due to the enormous numbers of loudspeakers required. In this paper, we propose an array of higher order loudspeakers which provide a mode matching solution to the problem based on 3D wavefield translation. It is shown that for a given bandwidth, the use of L th order sources significantly brings down the minimum loudspeaker requirement by a factor of 1/(L + 1) 2. Furthermore, the array is shown to be capable of exterior field cancellation, increasing its performance in echoing environments. Design examples are given for interior field, exterior field and interior and exterior combined field reproduction.
2015
Ambisonics is a 3D recording and playback method that is based on the representation of the sound field excitation as a decomposition into spherical harmonics. This representation facilitates spatial sound production that is independent of the playback system. The adaptation to a given playback system (loudspeakers or motion-tracked headphones) is achieved by a suitable decoder. This contribution gives an overview of the current state-of-the-art in Ambisonics including content production using Ambisonic main microphone arrays or panning of virtual sources, spatial effects, and reproduction by loudspeakers and headphones. The software for the whole production chain is already available as a VST-plugin suite for digital audio workstations.
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