Le 27/05/2019 à 20:55, Aaron Heller a écrit :
The soundbars I've heard sound like they use crosstalk cancellation (aka
transaural stereo) to achieve surround effects. I believe the work of Edgar
Choueiri and his students at Princeton represents the state of the art in
that area.
https://www.princeton.edu/3D3A/index.html
For binaural xtalk cancellation, there's probably nothing better than
the BACCH4Mac software (by Edgar Choueiri); it creates a virtual
physical barrier (a mandatory experience for any serious audiophile,
using just a foam/wooden board). I have an older version of the
BACCH4Mac software, and even with my cheap binaural microphones and a
Zoom H2 (as a USB interface) I can create a custom profile that works
well enough. I hope to build a better binaural microphone because I
can't afford the BACCH-BM microphone, but those with deep enough pockets
should just get it with the full BACCH4Mac package, and finally enjoy
their home stereo. It really is impressive. The only problem is that the
room should be treated to avoid early reflections, or else it won't work.
Too bad I can't understand the maths from the article (Aaron can):
https://www.researchgate.net/publication/264886721_Optimal_Crosstalk_Cancellation_for_Binaural_Audio_with_Two_Loudspeakers
Also Ralph Glasgal, an occasional poster on sursound --
http://www.ambiophonics.org
It kinda work, but I never was fully convinced... That said, depending
on the implementation of the RACE algorithm and some luck, results can
be quite interesting, even enjoyable. If the RACE algorithm is being
used with soundbars, then it should be possible to build DIY RACE
soundbars using affordable DSP chips.
I hope that Fons can tell us more about his soundbar (if his employer
allows it).
Marc
Aaron (hel...@ai.sri.com)
Menlo Park, CA US
On Mon, May 27, 2019 at 4:43 PM Augustine Leudar <augustineleu...@gmail.com>
wrote:
Hi Douglas -
I dont think he was referring to Atmos soundbars just Atmos in general .
Atmos will of course work nicely being a 9.1 (or is it 11.1 ?) bed with
objects operating within that over an unlimited number of speakers (or is
it 128 max) - as such its true surround (in that the speakers od actually
surround the litener); .
However its not particularily innovative in that it combines stuff thats
been around for years - (ambisonics can decode to different speaker
arrays
from one file for example and I assume the objects move around using
amplitude panning). Then youve got things like DBAP which have the
potential to create far more convincing 3D audio scenes that ATMOS and
thats been around a lot longer.
But no here we just refer to soundbars in general I think. I find it very
unlikely though that an "ATMOS" soundbar would give the impression of a
sound being behind the listener than a basical quad setup where there
actually are two speakers behind the listener.
I agree placebo definately plays a role in a lot of spatial audio.
On Mon, 27 May 2019 at 22:00, Douglas Murray <dmur...@well.com> wrote:
On May 27, 2019, at 12:09 PM, mgraves mstvp.com <mgra...@mstvp.com>
wrote:
See also Dolby Atmos. Yet another triumph of marketing over reality.
Dolby is especially good in that arena.
Michael Graves
Michael,
Are you referring to the Dolby Atmos sound bars and ceiling bouncing
speakers? If so I agree. But as a film sound designer, I don’t believe
I am
succumbing to marketing hype when I say that Dolby Atmos in a cinema
setting, with its full range surrounds and speakers in what were gaps
near
the screen, is a real improvement over other earlier surround formats
for
cinema. Clearly Dolby is trying to generate profits from the mass home
market rather than only from the small cinema world. It’s probable that
any
sound bar, whether “Atmos” or not, will be an upgrade for whomever buys
it,
so happy customers, even if the hype is not lived up to. Maybe it’s the
placebo effect that makes these things work?
Doug Murray
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