Hi Jens,
 
> I’m attaching Fig. 1 from the JASA article.

Nothing was attached (or it got lost...)

> If I’m not misreading, then the 7th order is available somewhere between
> 2 kHz and 3 kHz and higher. Aliasing kicks in at around 4 kHz-ish.

So the question is if this small range (less than one octave) actually
contributes anything useful.

> My guess is that it is not more or less sensitive than SMAs.

I'd agree.

> I’m as close as a few centimetres to the surface of the array. This
> triggers a lot of the high orders at low frequencies, and if there
> is something that is not ideal, then the low frequencies tend to go
> through the ceiling. 

If they don't that could just be because their contribution at LF
is filtered out anyway, e.g. if your A/B process includes high pass
filters of an order at least one higher than the order of the
component they act on.

> How would I be noticing if the microphone mismatch is above 
> the tolerance level?

One way uncalibrated capsule gains will show up is that after
binaural rendering you get significant ILD at LF, which should
never happen except for very close sources.

This actually happened recently with a binaural rendering system
I was working on. When the room sound (early reflections and
reverb tail) was added, this resulted in excessive ILD at LF,
and a perception of the room sound that was clearly biased to
one side.

The room sound in this case was from a real room, measured using
an SMA. Analysing these measurements revealed capsule gain errors
up to +/-3 dB. When these were compensated for, the problem
disappeared.


You could just measure the B-format polars at LF, but that would
require an anechoic room.

You could instead compute the theoretical capsule signals for a
set of directions, apply some gain errors, send the result through
your A/B process, and plot the result.

The only thing that mitigates this problem is statistics: with
a high number of capsules contributing to each harmonic, errors
tend to average out to some extent. 

Ciao,

-- 
FA

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