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Sound environment reproduction of various flight conditions in aircraft mock-ups is a valuable tool for the study, prediction, demonstration and jury testing of interior aircraft sound quality and annoyance. To provide a faithful ...
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Sound environment reproduction of various flight conditions in aircraft mock-ups is a valuable tool for the study, prediction, demonstration and jury testing of interior aircraft sound quality and annoyance. To provide a faithful reproduced sound environment, time, frequency and spatial characteristics should be preserved. Physical sound field reproduction methods for spatial sound reproduction are mandatory to immerse the listener's body in the proper sound fields so that localization cues are recreated at the listener's ears. Vehicle mock-ups pose specific problems for sound field reproduction. Confined spaces, needs for invisible sound sources and very specific acoustical environment make the use of open-loop sound field reproduction technologies such as wave field synthesis (based on free-field models of monopole sources) not ideal. In this paper, experiments in an aircraft mock-up with multichannel least-square methods and equalization are reported. The novelty is the actual implementation of sound field reproduction with 3180 transfer paths and trim panel reproduction sources in laboratory conditions with a synthetic target sound field. The paper presents objective evaluations of reproduced sound fields using various metrics as well as sound field extrapolation and sound field characterization. (C) 2016 Elsevier Ltd. All rights reserved.
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In virtual acoustics or artificial reverberation, impulse responses can be split so that direct and reflected components of the sound field are reproduced via separate loudspeakers. The authors had investigated the perceptual effe...
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In virtual acoustics or artificial reverberation, impulse responses can be split so that direct and reflected components of the sound field are reproduced via separate loudspeakers. The authors had investigated the perceptual effect of angular separation of those components in commonly used 5.0 and 7.0 multichannel systems, with one and three sound sources respectively (Kleczkowski et al., 2015, J. Audio Eng. Soc. 63, 428-443). In that work, each of the front channels of the 7.0 system was fed with only one sound source. In this work a similar experiment is reported, but with phantom sound sources between the front loud speakers. The perceptual advantage of separation was found to be more consistent than in the condition of discrete sound sources. The results were analysed both for pooled listeners and in three groups, according to experience. The advantage of separation was the highest in the group of experienced listeners.
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In this paper, we describe a new method for converting the signal of the original multichannel sound system into that of an alternative system with a different number of channels while maintaining the physical properties of sound ...
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In this paper, we describe a new method for converting the signal of the original multichannel sound system into that of an alternative system with a different number of channels while maintaining the physical properties of sound at the listening point in the reproduced sound field. Such a conversion problem can be described by the underdetermined linear equation. To obtain an analytical solution to the equation, the method partitions the sound field of the alternative system on the basis of the positions of three loudspeakers and solves the “local solution” in each subfield. As a result, the alternative system localizes each channel signal of the original sound system at the corresponding loudspeaker position as a phantom source. The composition of the local solutions introduces the “global solution,” that is, the analytical solution to the conversion problem. 22-channel signals of a 22.2 multichannel sound system without the two low-frequency effect channels were converted into 10-, 8-, and 6-channel signals by the method. Subjective evaluations showed that the proposed method could reproduce the spatial impression of the original 22-channel sound with eight loudspeakers.
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Spatial multizone soundfield reproduction over an extended region of open space is a complex and challenging problem in acoustic signal processing. In this paper, we provide a framework to recreate 2-D spatial multizone soundfield...
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Spatial multizone soundfield reproduction over an extended region of open space is a complex and challenging problem in acoustic signal processing. In this paper, we provide a framework to recreate 2-D spatial multizone soundfields using a single array of loudspeakers which encompasses all spatial regions of interest. The reproduction is based on the derivation of an equivalent global soundfield consisting of a number of individual multizone soundfields. This is achieved by using spatial harmonic coefficients translation between coordinate systems. A multizone soundfield reproduction problem is then reduced to the reproduction over the entire region. An important advantage of this approach is the full use of the available dimensionality of the soundfield. This paper provides quantitative performances of a 2-D multizone system and reveals some fundamental limits on 2-D multizone soundfield reproduction. The extensions of the multizone soundfield reproduction design in reverberant rooms are also included.
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Spatial audio is a field that investigates techniques to reproduce spatial attributes of sound (e.g., direction, distance, width of sound sources, and room envelopment) to the listener. Such attributes cannot be reproduced accurat...
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Spatial audio is a field that investigates techniques to reproduce spatial attributes of sound (e.g., direction, distance, width of sound sources, and room envelopment) to the listener. Such attributes cannot be reproduced accurately with one loudspeaker,
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Loudspeaker layout of Multi-channel sound reproduction was experimented using a music source convoluted with directional room responses of virtual sound field. Based on subjective estimation, arrangement of loudspeakers suitable f...
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Loudspeaker layout of Multi-channel sound reproduction was experimented using a music source convoluted with directional room responses of virtual sound field. Based on subjective estimation, arrangement of loudspeakers suitable for exact reproduction of spatial impression was studied. The results showed that, under the condition that the loudspeakers were arranged at equal interval of angle, it is necessary to use more than 8 loudspeakers and to put one of them in the frontal direction.
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Ambisonics is a technique for sound field synthesis and reproduction that has shown promising results for the presentation of three dimensional sound spaces. Sound fields are naturally represented by their expansions in terms of s...
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Ambisonics is a technique for sound field synthesis and reproduction that has shown promising results for the presentation of three dimensional sound spaces. Sound fields are naturally represented by their expansions in terms of spherical harmonic functions; such descriptions are known as Ambisonic encodings. Precise regeneration of the sound field from a set of spherical harmonic expansion coefficients requires a sufficient number of loudspeakers arranged in a regular layout. Decoding of Ambisonic recordings for their reproduction using a spherical, uniform loudspeaker array is not difficult. Nevertheless, evenly distributing a large number of loudspeakers is unfeasible in most scenarios. Irregular configurations are known to lead to ill-conditioned and singular re-encoding matrices. We propose a method to decompose high order Ambisonic recordings, based on the geometry of the target array, for accurate reproduction over irregular loudspeaker arrays.
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摘要 :
Ambisonics is a technique for sound field synthesis and reproduction that has shown promising results for the presentation of three dimensional sound spaces. Sound fields are naturally represented by their expansions in terms of s...
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Ambisonics is a technique for sound field synthesis and reproduction that has shown promising results for the presentation of three dimensional sound spaces. Sound fields are naturally represented by their expansions in terms of spherical harmonic functions; such descriptions are known as Ambisonic encodings. Precise regeneration of the sound field from a set of spherical harmonic expansion coefficients requires a sufficient number of loudspeakers arranged in a regular layout. Decoding of Ambisonic recordings for their reproduction using a spherical, uniform loudspeaker array is not difficult. Nevertheless, evenly distributing a large number of loudspeakers is unfeasible in most scenarios. Irregular configurations are known to lead to ill-conditioned and singular re-encoding matrices. We propose a method to decompose high order Ambisonic re cordings, based on the geometry of the target array, for accurate reproduction over irregular loudspeaker arrays.
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Known errors exist in loudspeaker array processing techniques, often degrading source localization and timbre. The goal of the present study was to use virtual loudspeaker arrays to investigate how treatment of the interaural time...
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Known errors exist in loudspeaker array processing techniques, often degrading source localization and timbre. The goal of the present study was to use virtual loudspeaker arrays to investigate how treatment of the interaural time delay (ITD) cue from each loudspeaker impacts these errors. Virtual loudspeaker arrays rendered over headphones using head-related impulse responses (HRIRs) allow flexible control of array size. Here, three HRIR delay treatment strategies were evaluated using minimum-phase loudspeaker HRIRs: reapplying the original HRIR delays, applying the relative ITD to the contralateral ear, or separately applying the HRIR delays prior to virtual array processing. Seven array sizes were simulated, and panning techniques were used to estimate HRIRs from 3000 directions using higher-order Ambisonics, vector-base amplitude panning, and the closest loudspeaker technique. Compared to a traditional, physical array, the prior HRIR delay treatment strategy produced similar errors with a 95% reduction in the required array size. When compared to direct spherical harmonic (SH) fitting of head-related transfer functions (HRTFs), the prior delays strategy reduced errors in reconstruction accuracy of timbral and directional psychoacoustic cues. This result suggests that delay optimization can greatly reduce the number of virtual loudspeakers required for accurate rendering of acoustic scenes without SH-based HRTF representation. (C) 2022 Author(s). All article content, except where otherwise noted, is licensed under a Creative Commons Attribution (CC BY) license (http://creativecommon.org/licence/by/4.0/).
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Flexible and efficient spatial sound acquisition and subsequent processing are of paramount importance in communication and assisted listening devices such as mobile phones, hearing aids, smart TVs, and emerging wearable devices (...
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Flexible and efficient spatial sound acquisition and subsequent processing are of paramount importance in communication and assisted listening devices such as mobile phones, hearing aids, smart TVs, and emerging wearable devices (e.g., smart watches and glasses). In application scenarios where the number of sound sources quickly varies, sources move, and nonstationary noise and reverberation are commonly encountered, it remains a challenge to capture sounds in such a way that they can be reproduced with a high and invariable sound quality. In addition, the objective in terms of what needs to be captured, and how it should be reproduced, depends on the application and on the user?s preferences. Parametric spatial sound processing has been around for two decades and provides a flexible and efficient solution to capture, code, and transmit, as well as manipulate and reproduce spatial sounds.
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