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Journal articles on the topic 'Ambisonic'

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Author: Grafiati

Published: 10 December 2022

Last updated: 10 March 2023

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1

McKenzie, Thomas, Damian Murphy, and Gavin Kearney. "Diffuse-Field Equalisation of Binaural Ambisonic Rendering." Applied Sciences 8, no. 10 (October 17, 2018): 1956. http://dx.doi.org/10.3390/app8101956.

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Ambisonics has enjoyed a recent resurgence in popularity due to virtual reality applications. Low order Ambisonic reproduction is inherently inaccurate at high frequencies, which causes poor timbre and height localisation. Diffuse-Field Equalisation (DFE), the theory of removing direction-independent frequency response, is applied to binaural (over headphones) Ambisonic rendering to address high-frequency reproduction. DFE of Ambisonics is evaluated by comparing binaural Ambisonic rendering to direct convolution via head-related impulse responses (HRIRs) in three ways: spectral difference, predicted sagittal plane localisation and perceptual listening tests on timbre. Results show DFE successfully improves frequency reproduction of binaural Ambisonic rendering for the majority of sound source locations, as well as the limitations of the technique, and set the basis for further research in the field.

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McKenzie, Thomas, Damian Murphy, and Gavin Kearney. "Interaural Level Difference Optimization of Binaural Ambisonic Rendering." Applied Sciences 9, no. 6 (March 23, 2019): 1226. http://dx.doi.org/10.3390/app9061226.

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Ambisonics is a spatial audio technique appropriate for dynamic binaural rendering due to its sound field rotation and transformation capabilities, which has made it popular for virtual reality applications. An issue with low-order Ambisonics is that interaural level differences (ILDs) are often reproduced with lower values when compared to head-related impulse responses (HRIRs), which reduces lateralization and spaciousness. This paper introduces a method of Ambisonic ILD Optimization (AIO), a pre-processing technique to bring the ILDs produced by virtual loudspeaker binaural Ambisonic rendering closer to those of HRIRs. AIO is evaluated objectively for Ambisonic orders up to fifth order versus a reference dataset of HRIRs for all locations on the sphere via estimated ILD and spectral difference, and perceptually through listening tests using both simple and complex scenes. Results conclude AIO produces an overall improvement for all tested orders of Ambisonics, though the benefits are greatest at first and second order.

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3

Rudzki, Tomasz, Ignacio Gomez-Lanzaco, Jessica Stubbs, Jan Skoglund, Damian T. Murphy, and Gavin Kearney. "Auditory Localization in Low-Bitrate Compressed Ambisonic Scenes." Applied Sciences 9, no. 13 (June 28, 2019): 2618. http://dx.doi.org/10.3390/app9132618.

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The increasing popularity of Ambisonics as a spatial audio format for streaming services poses new challenges to existing audio coding techniques. Immersive audio delivered to mobile devices requires an efficient bitrate compression that does not affect the spatial quality of the content. Good localizability of virtual sound sources is one of the key elements that must be preserved. This study was conducted to investigate the localization precision of virtual sound source presentations within Ambisonic scenes encoded with Opus low-bitrate compression at different bitrates and Ambisonic orders (1st, 3rd, and 5th). The test stimuli were reproduced over a 50-channel spherical loudspeaker configuration and binaurally using individually measured and generic Head-Related Transfer Functions (HRTFs). Participants were asked to adjust the position of a virtual acoustic pointer to match the position of virtual sound source within the bitrate-compressed Ambisonic scene. Results show that auditory localization in low-bitrate compressed Ambisonic scenes is not significantly affected by codec parameters. The key factors influencing localization are the rendering method and Ambisonic order truncation. This suggests that efficient perceptual coding might be successfully used for mobile spatial audio delivery.

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Li, Guoteng, Chengshi Zheng, Yuxuan Ke, and Xiaodong Li. "Deep Learning-Based Acoustic Echo Cancellation for Surround Sound Systems." Applied Sciences 13, no. 3 (January 17, 2023): 1266. http://dx.doi.org/10.3390/app13031266.

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Surround sound systems that play back multi-channel audio signals through multiple loudspeakers can improve augmented reality, which has been widely used in many multimedia communication systems. It is common that a hand-free speech communication system suffers from the acoustic echo problem, and the echo needs to be canceled or suppressed completely. This paper proposes a deep learning-based acoustic echo cancellation (AEC) method to recover the desired near-end speech from the microphone signals in surround sound systems. The ambisonics technique was adopted to record the surround sound for reproduction. To achieve a better generalization capability against different loudspeaker layouts, the compressed complex spectra of the first-order ambisonic signals (B-format) were sent to the neural network as the input features directly instead of using the ambisonic decoded signals (D-format). Experimental results on both simulated and real acoustic environments showed the effectiveness of the proposed algorithm in surround AEC, and outperformed other competing methods in terms of the speech quality and the amount of echo reduction.

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Zaunschirm, Markus, Matthias Frank, and Franz Zotter. "Binaural Rendering with Measured Room Responses: First-Order Ambisonic Microphone vs. Dummy Head." Applied Sciences 10, no. 5 (February 29, 2020): 1631. http://dx.doi.org/10.3390/app10051631.

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To improve the limited degree of immersion of static binaural rendering for headphones, an increased measurement effort to obtain multiple-orientation binaural room impulse responses (MOBRIRs) is reasonable and enables dynamic variable-orientation rendering. We investigate the perceptual characteristics of dynamic rendering from MOBRIRs and test for the required angular resolution. Our first listening experiment shows that a resolution between 15 ∘ and 30 ∘ is sufficient to accomplish binaural rendering of high quality, regarding timbre, spatial mapping, and continuity. A more versatile alternative considers the separation of the room-dependent (RIR) from the listener-dependent head-related (HRIR) parts, and an efficient implementation thereof involves the measurement of a first-order Ambisonic RIR (ARIR) with a tetrahedral microphone. A resolution-enhanced ARIR can be obtained by an Ambisonic spatial decomposition method (ASDM) utilizing instantaneous direction of arrival estimation. ASDM permits dynamic rendering in higher-order Ambisonics, with the flexibility to render either using dummy-head or individualized HRIRs. Our comparative second listening experiment shows that 5th-order ASDM outperforms the MOBRIR rendering with resolutions coarser than 30 ∘ for all tested perceptual aspects. Both listening experiments are based on BRIRs and ARIRs measured in a studio environment.

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6

Hui, C. T. Justine, Yusuke Hioka, Catherine I. Watson, and Hinako Masuda. "Spatial release from masking in varying spatial acoustic under higher order ambisonic-based sound reproduction system." INTER-NOISE and NOISE-CON Congress and Conference Proceedings 263, no. 4 (August 1, 2021): 2476–85. http://dx.doi.org/10.3397/in-2021-2148.

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A previous study found that spatial release from masking (SRM) could be observed under virtual reverberant environments using a first order Ambisonic-based sound reproduction system, however, poor localisation accuracy made it difficult to examine effect of varying reverberation time on SRM. The present study follows on using higher order Ambisonics (HOA) to examine how benefits from SRM vary in different spatial acoustics. Subjective speech intelligibility was measured where four room acoustics:reverberation time (RT)= 0.7 s (clarity (C50)= 16 dB, 7 dB); RT= 1.8 s (C50= 8 dB, 2 dB) were simulated via a third order Ambisonic system with a 16 channel spherical loudspeaker array. The masker was played from 8 azimuthal angles (0, +-45, +-90, +-135, 180 degrees) while the target speech was played from 0 degree. The listeners are deemed to benefit from SRM if their intelligibility scores were higher when the masker comes from a different angle than that of the target. We found while listeners could benefit from SRM at C50 = 16 dB and 8 dB, the benefit starts to diminish at C50 = 7 dB, and listeners could no longer benefit from SRM at C50 = 2 dB.

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Zotter, F., H. Pomberger, and M. Noisternig. "Energy-Preserving Ambisonic Decoding." Acta Acustica united with Acustica 98, no. 1 (January 1, 2012): 37–47. http://dx.doi.org/10.3813/aaa.918490.

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8

Epain, N., C. T. Jin, and F. Zotter. "Ambisonic Decoding With Constant Angular Spread." Acta Acustica united with Acustica 100, no. 5 (September 1, 2014): 928–36. http://dx.doi.org/10.3813/aaa.918772.

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9

Menzies, Dylan, and Filippo Maria Fazi. "Ambisonic Decoding for Compensated Amplitude Panning." IEEE Signal Processing Letters 26, no. 3 (March 2019): 470–74. http://dx.doi.org/10.1109/lsp.2019.2895275.

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10

Narbutt, Miroslaw, Jan Skoglund, Andrew Allen, Michael Chinen, Dan Barry, and Andrew Hines. "AMBIQUAL: Towards a Quality Metric for Headphone Rendered Compressed Ambisonic Spatial Audio." Applied Sciences 10, no. 9 (May 3, 2020): 3188. http://dx.doi.org/10.3390/app10093188.

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Spatial audio is essential for creating a sense of immersion in virtual environments. Efficient encoding methods are required to deliver spatial audio over networks without compromising Quality of Service (QoS). Streaming service providers such as YouTube typically transcode content into various bit rates and need a perceptually relevant audio quality metric to monitor users’ perceived quality and spatial localization accuracy. The aim of the paper is two-fold. First, it is to investigate the effect of Opus codec compression on the quality of spatial audio as perceived by listeners using subjective listening tests. Secondly, it is to introduce AMBIQUAL, a full reference objective metric for spatial audio quality, which derives both listening quality and localization accuracy metrics directly from the B-format Ambisonic audio. We compare AMBIQUAL quality predictions with subjective quality assessments across a variety of audio samples which have been compressed using the Opus 1.2 codec at various bit rates. Listening quality and localization accuracy of first and third-order Ambisonics were evaluated. Several fixed and dynamic audio sources (single and multiple) were used to evaluate localization accuracy. Results show good correlation regarding listening quality and localization accuracy between objective quality scores using AMBIQUAL and subjective scores obtained during listening tests.

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11

Kearney, Gavin, Helena Daffern, Patrick Cairns, Anthony Hunt, Ben Lee, Jacob Cooper, Panos Tsagkarakis, Tomasz Rudzki, and Daniel Johnston. "Measuring the Acoustical Properties of the BBC Maida Vale Recording Studios for Virtual Reality." Acoustics 4, no. 3 (September 14, 2022): 783–99. http://dx.doi.org/10.3390/acoustics4030047.

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In this paper we present a complete acoustic survey of the British Broadcasting Corporation Maida Vale recording studios. The paper outlines a fast room acoustic measurement framework for capture of spatial impulse response measurements for use in three or six degrees of freedom Virtual Reality rendering. Binaural recordings from a KEMAR dummy head as well as higher order Ambisonic spatial room impulse response measurements taken using a higher order Ambisonic microphone are presented. An acoustic comparison of the studios is discussed, highlighting remarkable similarities across three of the recording spaces despite significant differences in geometry. Finally, a database of the measurements, housing the raw impulse response captures as well as processed spatial room impulse responses is presented.

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12

Malham, David G., and Anthony Myatt. "3-D Sound Spatialization using Ambisonic Techniques." Computer Music Journal 19, no. 4 (1995): 58. http://dx.doi.org/10.2307/3680991.

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13

Clapp, Samuel, Anne Guthrie, Jonas Braasch, and Ning Xiang. "Perceptually evaluating ambisonic reproduction of room acoustics." Journal of the Acoustical Society of America 135, no. 4 (April 2014): 2400. http://dx.doi.org/10.1121/1.4877945.

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14

Popp, Constantin, and Damian T. Murphy. "Creating Audio Object-Focused Acoustic Environments for Room-Scale Virtual Reality." Applied Sciences 12, no. 14 (July 20, 2022): 7306. http://dx.doi.org/10.3390/app12147306.

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Room-scale virtual reality (VR) affordance in movement and interactivity causes new challenges in creating virtual acoustic environments for VR experiences. Such environments are typically constructed from virtual interactive objects that are accompanied by an Ambisonic bed and an off-screen (“invisible”) music soundtrack, with the Ambisonic bed, music, and virtual acoustics describing the aural features of an area. This methodology can become problematic in room-scale VR as the player cannot approach or interact with such background sounds, contradicting the player’s motion aurally and limiting interactivity. Written from a sound designer’s perspective, the paper addresses these issues by proposing a musically inclusive novel methodology that reimagines an acoustic environment predominately using objects that are governed by multimodal rule-based systems and spatialized in six degrees of freedom using 3D binaural audio exclusively while minimizing the use of Ambisonic beds and non-diegetic music. This methodology is implemented using off-the-shelf, creator-oriented tools and methods and is evaluated through the development of a standalone, narrative, prototype room-scale VR experience. The experience’s target platform is a mobile, untethered VR system based on head-mounted displays, inside-out tracking, head-mounted loudspeakers or headphones, and hand-held controllers. The authors apply their methodology to the generation of ambiences based on sound-based music, sound effects, and virtual acoustics. The proposed methodology benefits the interactivity and spatial behavior of virtual acoustic environments but may be constrained by platform and project limitations.

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15

Weisser, Adam, Jörg M. Buchholz, Chris Oreinos, Javier Badajoz-Davila, James Galloway, Timothy Beechey, and Gitte Keidser. "The Ambisonic Recordings of Typical Environments (ARTE) Database." Acta Acustica united with Acustica 105, no. 4 (July 1, 2019): 695–713. http://dx.doi.org/10.3813/aaa.919349.

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Everyday listening environments are characterized by far more complex spatial, spectral and temporal sound field distributions than the acoustic stimuli that are typically employed in controlled laboratory settings. As such, the reproduction of acoustic listening environments has become important for several research avenues related to sound perception, such as hearing loss rehabilitation, soundscapes, speech communication, auditory scene analysis, automatic scene classification, and room acoustics. However, the recordings of acoustic environments that are used as test material in these research areas are usually designed specifically for one study, or are provided in custom databases that cannot be universally adapted, beyond their original application. In this work we present the Ambisonic Recordings of Typical Environments (ARTE) database, which addresses several research needs simultaneously: realistic audio recordings that can be reproduced in 3D, 2D, or binaurally, with known acoustic properties, including absolute level and room impulse response. Multichannel higher-order ambisonic recordings of 13 realistic typical environments (e.g., office, cafè, dinner party, train station) were processed, acoustically analyzed, and subjectively evaluated to determine their perceived identity. The recordings are delivered in a generic format that may be reproduced with different hardware setups, and may also be used in binaural, or single-channel setups. Room impulse responses, as well as detailed acoustic analyses, of all environments supplement the recordings. The database is made open to the research community with the explicit intention to expand it in the future and include more scenes.

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Müller, Kaspar, and Franz Zotter. "Auralization based on multi-perspective ambisonic room impulse responses." Acta Acustica 4, no. 6 (2020): 25. http://dx.doi.org/10.1051/aacus/2020024.

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Most often, virtual acoustic rendering employs real-time updated room acoustic simulations to accomplish auralization for a variable listener perspective. As an alternative, we propose and test a technique to interpolate room impulse responses, specifically Ambisonic room impulse responses (ARIRs) available at a grid of spatially distributed receiver perspectives, measured or simulated in a desired acoustic environment. In particular, we extrapolate a triplet of neighboring ARIRs to the variable listener perspective, preceding their linear interpolation. The extrapolation is achieved by decomposing each ARIR into localized sound events and re-assigning their direction, time, and level to what could be observed at the listener perspective, with as much temporal, directional, and perspective context as possible. We propose to undertake this decomposition in two levels: Peaks in the early ARIRs are decomposed into jointly localized sound events, based on time differences of arrival observed in either an ARIR triplet, or all ARIRs observing the direct sound. Sound events that could not be jointly localized are treated as residuals whose less precise localization utilizes direction-of-arrival detection and the estimated time of arrival. For the interpolated rendering, suitable parameter settings are found by evaluating the proposed method in a listening experiment, using both measured and simulated ARIR data sets, under static and time-varying conditions.

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17

Fazenda, Bruno M. "Misleading description of first and second order ambisonic systems." Building and Environment 179 (July 2020): 106981. http://dx.doi.org/10.1016/j.buildenv.2020.106981.

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18

Zaunschirm, Markus, Franck Zagala, and Franz Zotter. "Auralization of High-Order Directional Sources from First-Order RIR Measurements." Applied Sciences 10, no. 11 (May 28, 2020): 3747. http://dx.doi.org/10.3390/app10113747.

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Can auralization of a highly directional source in a room succeed if it employs a room impulse response (RIR) measurement or simulation relying on a first-order directional source, only? This contribution presents model and evaluation of a source-and-receiver-directional Ambisonics RIR capture and processing approach (SRD ARIR) based on a small set of responses from a first-order source to a first-order receiver. To enhance the directional resolution, we extend the Ambisonic spatial decomposition method (ASDM) to upscale the first-order resolution of both source and receiver to higher orders. To evaluate the method, a listening experiment was conducted based on first-order SRD-ARIR measurements, into which the higher-order directivity of icosahedral loudspeaker’s (IKO) was inserted as directional source of well-studied perceptual effects. The results show how the proposed method performs and compares to alternative rendering methods based on measurements taken in the same acoustic environment, e.g., multiple-orientation binaural room impulse responses (MOBRIRs) from the physical IKO to the KU-100 dummy head, or higher-order SRD ARIRs from IKO to em32 Eigenmike. For optimal externalization, our experiments exploit the benefits of virtual reality, using a highly realistic visualization on head-mounted-display, and a user interface to report localization by placing interactive visual objects in the virtual space.

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Mróz, Bartłomiej, Piotr Odya, and Bożena Kostek. "Creating a Remote Choir Performance Recording Based on an Ambisonic Approach." Applied Sciences 12, no. 7 (March 24, 2022): 3316. http://dx.doi.org/10.3390/app12073316.

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The aim of this paper is three-fold. First, the basics of binaural and ambisonic techniques are briefly presented. Then, details related to audio-visual recordings of a remote performance of the Academic Choir of the Gdansk University of Technology are shown. Due to the COVID-19 pandemic, artists had a choice, namely, to stay at home and not perform or stay at home and perform. In fact, staying at home brought in the possibility of creating and developing art at home while working online. During the first months of lock-down, the audience was satisfied with music performances that were fairly far from the typical experience of a real concert hall. Then, more advanced technology was brought to facilitate joint rehearsal and performance of better quality, including multichannel sound and spatialization. At the same time, spatial music productions benefited from the disadvantage of remote rehearsal by creating immersive experiences for the audience based on ambisonic and binaural techniques. Finally, subjective tests were prepared and performed to observe performers’ attention behavior divided between the conductor and music notation in the network-like environment. To this end, eye-tracking technology was employed. This aspect is related to the quality of experience (QoE), which in the performance area–and especially in remote mode–is essential.

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Clapp, Sam, Anne Guthrie, Jonas Braasch, and Ning Xiang. "Explorations of room acoustics using a second‐order ambisonic microphone." Journal of the Acoustical Society of America 129, no. 4 (April 2011): 2534. http://dx.doi.org/10.1121/1.3588399.

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21

Chang, Jiho, and Marton Marschall. "Periphony-Lattice Mixed-Order Ambisonic Scheme for Spherical Microphone Arrays." IEEE/ACM Transactions on Audio, Speech, and Language Processing 26, no. 5 (May 2018): 924–36. http://dx.doi.org/10.1109/taslp.2018.2800290.

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22

Hoffbauer, Elias, and Matthias Frank. "Four-Directional Ambisonic Spatial Decomposition Method With Reduced Temporal Artifacts." Journal of the Audio Engineering Society 70, no. 12 (December 12, 2022): 1002–14. http://dx.doi.org/10.17743/jaes.2022.0039.

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23

Sato, Ryotaro, Kenta Niwa, and Kazunori Kobayashi. "Ambisonic Signal Processing DNNs Guaranteeing Rotation, Scale and Time Translation Equivariance." IEEE/ACM Transactions on Audio, Speech, and Language Processing 29 (2021): 1449–62. http://dx.doi.org/10.1109/taslp.2021.3069193.

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24

Tsang, P. W. M., and K. W. K. Cheung. "Development of a re-configurable ambisonic decoder for irregular loudspeaker configuration." IET Circuits, Devices & Systems 3, no. 4 (August 1, 2009): 197–203. http://dx.doi.org/10.1049/iet-cds.2009.0007.

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25

Seung-Rae Lee and Koeng-Mo Sung. "Generalized encoding and decoding functions for a cylindrical ambisonic sound system." IEEE Signal Processing Letters 10, no. 1 (January 2003): 21–23. http://dx.doi.org/10.1109/lsp.2002.806703.

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26

Ozga, Agnieszka. "Scientific Ideas Included in the Concepts of Bioacoustics, Acoustic Ecology, Ecoacoustics, Soundscape Ecology, and Vibroacoustics." Archives of Acoustics 42, no. 3 (September 26, 2017): 415–21. http://dx.doi.org/10.1515/aoa-2017-0043.

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AbstractThe paper discusses the research areas which are placed in the modern science on the borderline between ecology and acoustics. It is explained what ideas are included in the concepts of bioacoustics, acoustic ecology, ecoacoustics, and soundscape ecology. The results obtained in these domains are compared with those received in vibroacoustic research presented at the Polish WIBROTECH conference cycle. The paper suggests an inventory of research topics connected with acoustics and ecology. In the second part of the paper the author presents the possibilities of ambisonic technology of recording and listening to sounds for the analysis in bioacoustic research.

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Thery, David. "Auralization of virtual concerts: A subjective evaluation comparing binaural and ambisonic rendering." Journal of the Acoustical Society of America 145, no. 3 (March 2019): 1890. http://dx.doi.org/10.1121/1.5101849.

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Strauss, Holger, and Jörg Buchholz. "Comparison of virtual sound source positioning with amplitude panning and Ambisonic reproduction." Journal of the Acoustical Society of America 105, no. 2 (February 1999): 934. http://dx.doi.org/10.1121/1.426307.

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Nicol, Rozenn, and Marc Emerit. "Holophony versus ambisonic: Deriving a hybrid method for 3‐D sound reproduction in videoconferencing." Journal of the Acoustical Society of America 105, no. 2 (February 1999): 1036. http://dx.doi.org/10.1121/1.424947.

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30

Weaving, Simon. "Evoke, don’t show: Narration in cinematic virtual reality and the making of Entangled." Virtual Creativity 11, no. 1 (June 1, 2021): 147–62. http://dx.doi.org/10.1386/vcr_00047_1.

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Over the past three years, cinematic virtual reality (CVR) has emerged as a form of media storytelling that takes advantage of the immersive properties of VR technology. However, as a practice it poses a number of challenges for the writer‐director used to controlling the frame through which the viewer experiences the narrative. This research outlines the making of Entangled (a live-action, stereoscopic, VR experience incorporating ambisonic audio) and reflects on concept development and production decision-making with reference to the emerging body of academic knowledge about cinematic VR, in particular ideas about the position of the viewer and the nature of narration. The research addresses some of the gaps in knowledge in these areas, reconciling theoretical positions with a deep understanding of the realities of production processes.

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Thery, David, and Brian F. G. Katz. "Auditory perception stability evaluation comparing binaural and loudspeaker Ambisonic presentations of dynamic virtual concert auralizations." Journal of the Acoustical Society of America 149, no. 1 (January 2021): 246–58. http://dx.doi.org/10.1121/10.0002942.

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Webster, Christine, François Garnier, and Anne Sedes. "Empty Room, how to compose and spatialize electroacoustic music in VR in ambisonic and binaural." International Journal of Virtual Reality 17, no. 2 (January 1, 2017): 30–39. http://dx.doi.org/10.20870/ijvr.2017.17.2.2889.

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Presentation of the Empty Room project, dedicated to the exploration of new musical composition and spatialization methods in virtual 3D spaces developped on multiplayer or mono player technologies such as Second Life, Open Simulator and Unity 3D, using the latest video game and virtual reality technologies.

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McCormack, Leo, Archontis Politis, Thomas McKenzie, Christoph Hold, and Ville Pulkki. "Object-Based Six-Degrees-of-Freedom Rendering of Sound Scenes Captured with Multiple Ambisonic Receivers." Journal of the Audio Engineering Society 70, no. 5 (May 11, 2022): 355–72. http://dx.doi.org/10.17743/jaes.2022.0010.

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Kearney, Gavin, Marcin Gorzel, Henry Rice, and Frank Boland. "Distance Perception in Interactive Virtual Acoustic Environments using First and Higher Order Ambisonic Sound Fields." Acta Acustica united with Acustica 98, no. 1 (January 1, 2012): 61–71. http://dx.doi.org/10.3813/aaa.918492.

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Marentakis, G., F. Zotter, and M. Frank. "Vector-Base and Ambisonic Amplitude Panning: A Comparison Using Pop, Classical, and Contemporary Spatial Music." Acta Acustica united with Acustica 100, no. 5 (September 1, 2014): 945–55. http://dx.doi.org/10.3813/aaa.918774.

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36

Chang, Jiho. "A mixed-order ambisonic scheme to improve performance for sound sources on the horizontal plane." Journal of the Acoustical Society of America 140, no. 4 (October 2016): 3375–76. http://dx.doi.org/10.1121/1.4970793.

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37

GHOUSE, NIDA. "An Archaeology of Sound: A Slightly Curving Place Introduction." Theatre Research International 46, no. 2 (July 2021): 209–24. http://dx.doi.org/10.1017/s0307883321000110.

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The life and work of Umashankar Manthravadi is a history of sound and technology through the second half of the twentieth century. As a self-taught acoustic archaeologist, he began measuring the acoustic properties of a premodern performance space in the mid-1990s, and has been building ambisonic microphones since the early 2000s in order to carry out his project in further locations. Bringing together writers, choreographers, dancers, musicians, field recordists and sound designers, A Slightly Curving Place is an exhibition that responds to Umashankar's practice and proposes possibilities for listening to the past and its absence which remains. Umashankar asserts that we cannot just look for theatres in landscapes of the past; we must listen for them. In this dossier, contributors to the exhibition extend the notion of listening to an archaeological site to include practices of listening to text, textures, technologies, the body and the fields of recording.

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Zaunschirm, Markus, Christian Schörkhuber, and Robert Höldrich. "Binaural rendering of Ambisonic signals by head-related impulse response time alignment and a diffuseness constraint." Journal of the Acoustical Society of America 143, no. 6 (June 2018): 3616–27. http://dx.doi.org/10.1121/1.5040489.

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Tsang, P. W. M., K. W. K. Cheung, and A. C. S. Leung. "Decoding ambisonic signals to irregular quad loudspeaker configuration based on hybrid ANN and modified tabu search." Neural Computing and Applications 20, no. 7 (June 15, 2010): 983–91. http://dx.doi.org/10.1007/s00521-010-0397-1.

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Dick, David A., and Michelle C. Vigeant. "A new metric to predict listener envelopment based on spherical microphone array measurements and ambisonic reproductions." Journal of the Acoustical Society of America 140, no. 4 (October 2016): 3175. http://dx.doi.org/10.1121/1.4969978.

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Carvalho, Maria Luiza, William J. Davies, and Bruno Fazenda. "Manchester Soundscape Experiment Online 2020: an overview." INTER-NOISE and NOISE-CON Congress and Conference Proceedings 265, no. 1 (February 1, 2023): 5993–6001. http://dx.doi.org/10.3397/in_2022_0888.

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This paper presents results from the Manchester Soundscape Experiment Online 2020. It consisted of a virtual reality (VR) experiment online where participants rated 12 different scenarios with questions. The selected locations were Piccadilly Gardens, Market Street, Peel Park, and a bus stop. Each site was visited and recorded with a 360 camera and soundfield microphone on three crowd densities (empty, medium, and busy). Audio stimuli were converted from first-order ambisonic recordings to head-tracked binaural using Facebook Spatial Workstation software. The questions included the eight soundscape attributes from ISO 12913, three emotional self-assessment manikins, and demographic information. A total of 63 nationalities composed the group of 158 participants. Results from Piccadilly Gardens demonstrated that the eventful and vibrant scales significantly increased with the number of people in the scene. This tendency also happened at Market Street and Peel Park on the arousal emotional state. The other sites had these increases but were not as significant. Future research will include verifying these findings in laboratory conditions alongside measurements of brain activity via electroencephalogram.

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Taiwo, Olu. "Will metaversive technologies help writers to reclaim tacit knowledge?" Journal of Writing in Creative Practice 15, no. 1 (January 1, 2022): 73–80. http://dx.doi.org/10.1386/jwcp_00030_1.

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This article challenges the assumption that traditional genres of academic writing are as appropriate for practice-based students of art, drama or design as they were for book-centred disciplines, such as the humanities or sciences. It argues that scholarly writing diminished the importance of embodied and situated aspects of human ‘knowledge’ within mainstream university art school courses, such as visual and performative arts. In the traditional book-centred disciplines, scholarly writing was useful for encoding declarative knowledge (e.g. ‘knowing that’) but is less effective for the kinds of procedural knowledge (e.g. ‘knowing how’) that are vital in creative, studio-/practice-based learning. Now that academic writing is aided by technologies offering automatic spelling and grammar checks, global text search, cut-and-paste this has further widened the gaps between the knowledges pertaining to head, heart and hand. Soon, however, the combined benefits of 5G, virtual reality, artificial intelligence and ambisonic technologies look likely to make ‘immersive’ and ‘experiential’ technologies almost ubiquitous. Given the appropriate research and development, the ‘metaverse’ could encourage students to think in ways that are more presently situated, relational, embodied and multidimensional.

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Carter, J. Parkman, and Jonas Braasch. "Cross-modal soundscape mapping: Integrating ambisonic field recordings with high dynamic range spherical panoramic photography to produce interactive maps." Journal of the Acoustical Society of America 135, no. 4 (April 2014): 2187. http://dx.doi.org/10.1121/1.4877123.

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Sampedro Llopis, Hermes, Finnur Pind, and Cheol-Ho Jeong. "With regard to the letter to the editor by Bruno M. Fazenda. “Misleading description of first and second order Ambisonic systems”." Building and Environment 183 (October 2020): 107074. http://dx.doi.org/10.1016/j.buildenv.2020.107074.

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Trommer, Michael, and Graham Wakefield. "Points Further North: An Acoustemological Cartography of Non-Place." Abstracts of the ICA 1 (July 15, 2019): 1. http://dx.doi.org/10.5194/ica-abs-1-369-2019.

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<p><strong>Abstract.</strong> This paper discusses the <i>Points Further North project</i>, a VR documentary that was undertaken with a view to foregrounding how sound can be deployed as the primary mechanism for laying out the complex, often subjugated relationships manifested between physical spaces and those who inhabit them. Specifically, It examines how ambisonic and haptic audio’s profoundly affective emotional, tactile and topologically enveloping capacities can be articulated within an acoustemological framework (acoustemology is best defined by ethnographer Steven Feld as “sonic ways of being in and knowing the world”) in order to evoke a heightened sense of awareness, perhaps even an agency, with respect to the largely abstracted ramifications arising from the consumerist lifestyles that are endemic to the developed world. The project exploits the possibilities inherent in the amplification of the vibratory and electromagnetic spectra that permeate our urban environments: infrasonic/tactile elements are disseminated via the Subpac wearable haptic interface in order to constitute a corporeal and emotional presence, and the radiant (yet invisible) transmissions of our information, economic and surveillance networks are captured and sonified via the via use of electromagnetic transducers. Both sonically and thematically, <i>Points Further North</i> seeks to uncover that which sound studies scholar Salomé Voegelin, terms “our locality on the invisible index of sound”, capitalizing upon sound’s capacity to delineate the ethereal topographies engendered via the vast, sublime – yet sublimated – infrastructures that we find ourselves immersed within.</p>

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Nishimura, Ryouichi. "5.Ambisonics." Journal of the Institute of Image Information and Television Engineers 68, no. 8 (2014): 616–20. http://dx.doi.org/10.3169/itej.68.616.

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Lokki, Tapio, and Stefan Weinzierl. "Auralization and Ambisonics." Acta Acustica united with Acustica 100, no. 5 (September 1, 2014): 5–6. http://dx.doi.org/10.3813/aaa.918779.

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Andrew, Alex M. "Machine consciousness, ambisonics." Kybernetes 38, no. 3/4 (April 10, 2009): 556–58. http://dx.doi.org/10.1108/03684920910944786.

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Yao, Shu-Nung. "Equalization in ambisonics." Applied Acoustics 139 (October 2018): 129–39. http://dx.doi.org/10.1016/j.apacoust.2018.04.027.

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Engel, Isaac, Dan F. M. Goodman, and Lorenzo Picinali. "Assessing HRTF preprocessing methods for Ambisonics rendering through perceptual models." Acta Acustica 6 (2022): 4. http://dx.doi.org/10.1051/aacus/2021055.

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Binaural rendering of Ambisonics signals is a common way to reproduce spatial audio content. Processing Ambisonics signals at low spatial orders is desirable in order to reduce complexity, although it may degrade the perceived quality, in part due to the mismatch that occurs when a low-order Ambisonics signal is paired with a spatially dense head-related transfer function (HRTF). In order to alleviate this issue, the HRTF may be preprocessed so its spatial order is reduced. Several preprocessing methods have been proposed, but they have not been thoroughly compared yet. In this study, nine HRTF preprocessing methods were used to render anechoic binaural signals from Ambisonics representations of orders 1 to 44, and these were compared through perceptual hearing models in terms of localisation performance, externalisation and speech reception. This assessment was supported by numerical analyses of HRTF interpolation errors, interaural differences, perceptually-relevant spectral differences, and loudness stability. Models predicted that the binaural renderings’ accuracy increased with spatial order, as expected. A notable effect of the preprocessing method was observed: whereas all methods performed similarly at the highest spatial orders, some were considerably better at lower orders. A newly proposed method, BiMagLS, displayed the best performance overall and is recommended for the rendering of bilateral Ambisonics signals. The results, which were in line with previous literature, indirectly validate the perceptual models’ ability to predict listeners’ responses in a consistent and explicable manner.

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