Relevant bibliographies by topics / First-order ambisonics

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Academic literature on the topic 'First-order ambisonics'

Author: Grafiati
Published: 18 November 2022
Last updated: 20 December 2022

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Journal articles on the topic "First-order ambisonics"

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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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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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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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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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Bertet, Stéphanie, Jérôme Daniel, Etienne Parizet, and Olivier Warusfel. "Investigation on Localisation Accuracy for First and Higher Order Ambisonics Reproduced Sound Sources." Acta Acustica united with Acustica 99, no. 4 (July 1, 2013): 642–57. http://dx.doi.org/10.3813/aaa.918643.

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Oberman, Tin, Kristian Jambrošić, Marko Horvat, and Bojana Bojanić Obad Šćitaroci. "Using Virtual Soundwalk Approach for Assessing Sound Art Soundscape Interventions in Public Spaces." Applied Sciences 10, no. 6 (March 20, 2020): 2102. http://dx.doi.org/10.3390/app10062102.

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This paper discusses the soundscape assessment approaches to soundscape interventions with musical features introduced to public spaces as permanent sound art, with a focus on the ISO 12913 series, Method A for data collection applied in a laboratory study. Three soundscape interventions in three cities are investigated. The virtual soundwalk is used to combine the benefits of the on-site and laboratory settings. Two measurement points per location were recorded—one at a position where the intervention was clearly perceptible, the other further away to serve as a baseline condition. The participants (N = 44) were exposed to acoustic environments (N = 6) recorded using the first-order Ambisonics microphone on-site and then reproduced via the second-order Ambisonics system in laboratory. A series of rank-based Kruskal–Wallis tests were performed on the results of the subjective responses. Results revealed a statistically significant positive effect on soundscape at two locations, and limitations related to sound source identification due to cultural factors and geometrical configuration of the public space at one location.
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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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Bertet, Stephanie, Jérôme Daniel, Etienne Parizet, and Olivier Warusfel. "Investigation on the restitution system influence over perceived Higher Order Ambisonics sound field: a subjective evaluation involving from first to fourth order systems." Journal of the Acoustical Society of America 123, no. 5 (May 2008): 3936. http://dx.doi.org/10.1121/1.2936007.

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Carpentier, Thibaut, Natasha Barrett, Rama Gottfried, and Markus Noisternig. "Holophonic Sound in IRCAM's Concert Hall: Technological and Aesthetic Practices." Computer Music Journal 40, no. 4 (December 2016): 14–34. http://dx.doi.org/10.1162/comj_a_00383.

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This article presents a report on technological and aesthetic practices in the variable-acoustics performance hall, Espace de Projection, at the Institut de Recherche et Coordination Acoustique/Musique. The hall is surrounded by a 350-loudspeaker array for sound-field reproduction using holophonic approaches such as wave-field synthesis and higher-order Ambisonics. First we present the design and implementation of the audio system and discuss the challenges of both hardware and software architectures. This is followed by a discussion of spatial composition techniques, aesthetic approaches, and methodologies for composing computer music for high-density loudspeaker arrays, explored through the paradigmatic examples of pieces produced by two artist-in-research residencies.
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Tarlao, Cynthia, Daniel Steele, and Catherine Guastavino. "Assessing the ecological validity of soundscape reproduction in different laboratory settings." PLOS ONE 17, no. 6 (June 27, 2022): e0270401. http://dx.doi.org/10.1371/journal.pone.0270401.

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The ever-growing body of soundscape research includes studies conducted both in everyday life environments and in laboratory settings. Yet, laboratory settings differ from in-situ and therefore may elicit different perceptions. The present study explores the ecological validity of soundscape reproduction in the laboratory using first-order Ambisonics and of different modes of questionnaire administration. Furthermore, it investigates the influence of the contextual factors of time of day, day of the week, and location on site on soundscape evaluations in situ and in the laboratory, based on the Swedish Soundscape Quality Protocol. We first tested measurement invariance between the computer-based and pen-and-paper administration of the soundscape questionnaire. We then investigated the influence of the above-mentioned contextual factors on soundscape evaluations, as well as the effect of stimuli selection in the laboratory. The analyses confirmed the underlying dimensions of proposed soundscape assessment questionnaires, confirmed metric invariance between computer and pen-and-paper, and revealed significant influences of time, day, and location on soundscape scales. This research represents a critical step in rigorously assessing soundscape evaluations in the laboratory and establishes solid evidence for the use of both in situ and laboratory soundscape studies.
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Dissertations / Theses on the topic "First-order ambisonics"

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Deprez, Romain. "Optimisation perceptive de la restitution sonore multicanale par une analyse spatio-temporelle des premières réflexions." Thesis, Aix-Marseille, 2012. http://www.theses.fr/2012AIXM4746/document.

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L'objectif de cette thèse est l'optimisation de la qualité perçue de la reproduction sonore par un système audio multicanal, dans un contexte de salle d'écoute domestique. Les travaux de recherche présentés s'articulent selon deux axes. Le premier concerne l'effet de salle, et plus particulièrement les aspects physiques et perceptifs liés aux premières réflexions d'une salle. Ces éléments sont décrits spécifiquement, et une expérience psychoacoustique a été menée afin d'étendre les données disponibles quant à leur perceptibilité, c'est à dire leur capacité à modifier la perception du son direct, que ce soit en termes de timbre ou de localisation. Les résultats mettent en évidence la dépendance du seuil en fonction du type de stimulus, ainsi que son évolution en fonction de la configuration spatiale de l'onde directe et de la réflexion. Pour une condition donnée, le seuil de perceptibilité est décrit comme une fonction de directivité dépendant de l'incidence de la réflexion.Le deuxième axe de travail concerne les méthodes de correction de l'effet de la salle de reproduction. Les méthodes numériques classiques sont d'abord étudiées. Leur principale lacune réside dans l'absence de prise en compte du rôle spécifique des propriétés temporelles et spatiales des première réflexions. Le travail de thèse se termine par la proposition d'une nouvelle méthode de correction utilisant un algorithme itératif de type FISTA modifié afin de prendre en compte la perceptibilité des réflexions. Le traitement est implémenté dans une représentation où l'information spatiale est analysée sur la base des harmoniques sphériques
The goal of this Ph. D. thesis is to optimize the perceived quality of multichannel sound reproduction systems, in the context of a domestic listening room. The presented research work have been pursued in two different directions.The first deals with room effet, and more particularly with physical and perceptual aspects of first reflections within a room. These reflections are specifically described, and a psychoacoustical experiment have been carried out in order to extend the available data on their perceptibility, i.e. their potency in altering the perception of the direct sound, whether in its timbral or spatial features. Results exhibit the variation of the threshold depending on the type of stimulus, as well as on the spatial configuration of the direct sound and the reflection. For a given condition, the perceptibility threshold is given as a directivity function depending on the direction of incidence of the reflection.The second topic deals with room correction methods. Firstly, state-of-the art digital methods are investigated. Their main drawback is that they don't consider the specific impact of the temporal and spatial attributes of first reflections. A new correction method is therefore proposed. It uses an iterative algorithm, derivated from the FISTA method, in order to take into account the perceptibility of the reflections. All the processing is carried out in a spatial sound representation, where the spatial properties of the sound are analysed thanks to spherical harmonics
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Mahé, Pierre. "Codage ambisonique pour les communications immersives." Thesis, La Rochelle, 2022. http://www.theses.fr/2022LAROS011.

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Cette thèse s’inscrit dans le contexte de l’essor des contenus immersifs. Depuis quelques années, les technologies de captation et de restitution sonore immersive se sont développées de manière importante. Ce nouveau contenu a fait naître le besoin de créer de nouvelles méthodes dédiées à la compression audio spatialisée, notamment dans le domaine de la téléphonie et des services conversationnels. Il existe plusieurs manières de représenter l’audio spatialisé, dans cette thèse nous sommes intéressés à l’ambisonie d’ordre 1. Dans un premier temps, nos travaux ont porté sur la recherche d’une solution pour améliorer le codage multimono. Cette solution consiste en un traitement en amont du codec multimono pour décorréler les signaux des composantes ambisoniques. Une attention particulière a été portée à la garantie de continuité du signal entre les trames et à la quantification des métadonnées spatiales. Dans un second temps, nous avons étudié comment utiliser la connaissance de la répartition de l’énergie du signal dans l’espace, aussi appelée image spatiale, pour créer de nouvelles méthodes de codage. L’utilisation de cette image spatiale a permis d’élaborer deux méthodes de compression. La première approche proposée est basée sur la correction spatiale du signal décodé. Cette correction se base sur la différence entre les images spatiales du signal d’origine et du signal décodés pour atténuer les altérations spatiales. Ce principe a été étendu dans une seconde approche à une méthode de codage paramétrique. Dans une dernière partie de cette thèse, plus exploratoire, nous avons étudié une approche de compression par réseaux de neurones en nous inspirant de modèles de compression d’images par auto-encodeur variationnel
This thesis takes place in the context of the spread of immersive content. For the last couple of years, immersive audio recording and playback technologies have gained momentum and have become more and more popular. New codecs are needed to handle those spatial audio formats, especially for communication applications. There are several ways to represent spatial audio scenes. In this thesis, we focused on First Order Ambisonic. The first part of our research focused on improving multi-monocoding by decorrelated each ambisonic signal component before the multi-mono coding. To guarantee signal continuity between frames, efficient quantization new mechanisms are proposed. In the second part of this thesis, we proposed a new coding concept using a power map to recreate the original spatial image. With this concept, we proposed two compressing methods. The first one is a post-processing focused on limiting the spatial distortion of the decoded signal. The spatial correction is based on the difference between the original and the decoded spatial image. This post-processing is later extended to a parametric coding method. The last part of this thesis presents a more exploratory method. This method studied audio signal compression by neural networks inspired by image compression models using variational autoencoders
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Book chapters on the topic "First-order ambisonics"

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Zotter, Franz, and Matthias Frank. "XY, MS, and First-Order Ambisonics." In Ambisonics, 1–22. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-17207-7_1.

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Ben-Hur, Zamir, David Alon, Or Berebi, Ravish Mehra, and Boaz Rafaely. "Binaural Reproduction Based on Bilateral Ambisonics." In Advances in Fundamental and Applied Research on Spatial Audio [Working Title]. IntechOpen, 2021. http://dx.doi.org/10.5772/intechopen.100402.

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Binaural reproduction of high-quality spatial sound has gained considerable interest with the recent technology developments in virtual and augmented reality. The reproduction of binaural signals in the Spherical-Harmonics (SH) domain using Ambisonics is now a well-established methodology, with flexible binaural processing realized using SH representations of the sound-field and the Head-Related Transfer Function (HRTF). However, in most practical cases, the binaural reproduction is order-limited, which introduces truncation errors that have a detrimental effect on the perception of the reproduced signals, mainly due to the truncation of the HRTF. Recently, it has been shown that manipulating the HRTF phase component, by ear-alignment, significantly reduces its effective SH order while preserving its phase information, which may be beneficial for alleviating the above detrimental effect. Incorporating the ear-aligned HRTF into the binaural reproduction process has been suggested by using Bilateral Ambisonics, which is an Ambisonics representation of the sound-field formulated at the two ears. While this method imposes challenges on acquiring the sound-field, and specifically, on applying head-rotations, it leads to a significant reduction in errors caused by the limited-order reproduction, which yields a substantial improvement in the perceived binaural reproduction quality even with first order SH.
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Conference papers on the topic "First-order ambisonics"

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Mazzon, Luca, Yuma Koizumi, Masahiro Yasuda, and Noboru Harada. "First Order Ambisonics Domain Spatial Augmentation for DNN-based Direction of Arrival Estimation." In 4th Workshop on Detection and Classification of Acoustic Scenes and Events (DCASE 2019). New York University, 2019. http://dx.doi.org/10.33682/3qgs-e216.

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Bosca, Amelie, Alexandre Guerin, Laureline Perotin, and Srdan Kitic. "Dilated U-net based approach for multichannel speech enhancement from First-Order Ambisonics recordings." In 2020 28th European Signal Processing Conference (EUSIPCO). IEEE, 2021. http://dx.doi.org/10.23919/eusipco47968.2020.9287478.

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Gölles, Lukas, and Franz Zotter. "Directional enhancement of first-order ambisonic room impulse responses by the 2+2 directional signal estimator." In AM'20: Audio Mostly 2020. New York, NY, USA: ACM, 2020. http://dx.doi.org/10.1145/3411109.3411131.

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