On Wed, Dec 31, 2014 at 3:20 AM, Dave Malham <dave.mal...@york.ac.uk> wrote: > > I wonder how closely this is related to the paper he was one of the authors > of at the 2010 Ambisonics Symposium? Anyone have it handy?
Here's the URL: http://ambisonics10.ircam.fr/drupal/files/proceedings/poster/P6_41.pdf Also an IEEE paper from 2013 http://ieeexplore.ieee.org/xpl/articleDetails.jsp?arnumber=6508825 This paper presents a systematic framework for the analysis and design of circular multichannel surround sound systems. Objective analysis based on the concept of active intensity fields shows that for stable rendition of monochromatic plane waves it is beneficial to render each such wave by no more than two channels. Based on that finding, we propose a methodology for the design of circular microphone arrays, in the same configuration as the corresponding loudspeaker system, which aims to capture inter-channel time and intensity differences that ensure accurate rendition of the auditory perspective. The methodology is applicable to regular and irregular microphone/speaker layouts, and a wide range of microphone array radii, including the special case of coincident arrays which corresponds to intensity-based systems. Several design examples, involving first and higher-order microphones are presented. Results of formal listening tests suggest that the proposed design methodology achieves a performance comparable to prior art in the center of the loudspeaker array and a more graceful degradation away from the center. > > Le 31 déc. 2014 à 00:08, John Leonard <j...@johnleonard.co.uk> a écrit : > > > > > This looks interesting: > > > > > > Upcoming Lectures > > > > > > London: Tuesday 13th January > > > > > > Perceptual Sound Field Reconstruction and Coherent Synthesis > > > > > > Zoran Cvetkovic, Professor of Signal Processing at King's College London > > > > > > Imagine a group of fans cheering their team at the Olympics from a local > > pub, who want to feel transposed to the arena by experiencing a faithful > > and convincing auditory perspective of the scene they see on the screen. > > They hear the punch of the player kicking the ball and are immersed in the > > atmosphere as if they are watching from the sideline. Alternatively, > > imagine a small group of classical music aficionados following a broadcast > > from the Royal Opera at home, who want to have the experience of listening > > to it from best seats at the opera house. Imagine having finally a surround > > sound system with room simulators that actually sound like the spaces they > > are supposed to synthesise, or watching a 3D nature film in a home theatre > > where the sound closely follows the movements one sees on the screen. > > Imagine also a video game capable of providing a convincing dynamic > > auditory perspective that tracks a moving game player and responds to his > > actions, with virtual objects moving and acoustic environments changing. > > Finally, place all this in the context of visual technology that is moving > > firmly in the direction of "3D" capture and rendering, where enhanced > > spatial accuracy and detail are key features. In this talk we will present > > a technology that enables all these spatial sound applications using > > low-count multichannel systems. > > > This month's lecture is being held at King's College London, Nash > > Lecture Theatre, K2.31, Strand, London, WC2R 2LS. 6:30pm for 7:00pm start. > > > > > > I'll be there if I can. > > > > > > John -------------- next part -------------- An HTML attachment was scrubbed... URL: <https://mail.music.vt.edu/mailman/private/sursound/attachments/20141231/b118ab2e/attachment.html> _______________________________________________ Sursound mailing list Sursound@music.vt.edu https://mail.music.vt.edu/mailman/listinfo/sursound - unsubscribe here, edit account or options, view archives and so on.
