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Ambisonics: A Practical 3D Audio Theory for Recording, Studio Production, Sound Reinforcement, and Virtual Reality 2019 ed. [Kõva köide]

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  • Formaat: Hardback, 210 pages, kõrgus x laius: 235x155 mm, kaal: 506 g, 35 Illustrations, color; 137 Illustrations, black and white; XIV, 210 p. 172 illus., 35 illus. in color., 1 Hardback
  • Sari: Springer Topics in Signal Processing 19
  • Ilmumisaeg: 14-May-2019
  • Kirjastus: Springer Nature Switzerland AG
  • ISBN-10: 3030172066
  • ISBN-13: 9783030172060
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Ambisonics: A Practical 3D Audio Theory for Recording, Studio Production, Sound Reinforcement, and Virtual Reality 2019 ed.Suurem pilt
  • Formaat: Hardback, 210 pages, kõrgus x laius: 235x155 mm, kaal: 506 g, 35 Illustrations, color; 137 Illustrations, black and white; XIV, 210 p. 172 illus., 35 illus. in color., 1 Hardback
  • Sari: Springer Topics in Signal Processing 19
  • Ilmumisaeg: 14-May-2019
  • Kirjastus: Springer Nature Switzerland AG
  • ISBN-10: 3030172066
  • ISBN-13: 9783030172060
Teised raamatud teemal:
Püsilink: https://www.kriso.ee/db/9783030172060.html
This open access book provides a concise explanation of the fundamentals and background of the surround sound recording and playback technology Ambisonics. It equips readers with the psychoacoustical, signal processing, acoustical, and mathematical knowledge needed to understand the inner workings of modern processing utilities, special equipment for recording, manipulation, and reproduction in the higher-order Ambisonic format. The book comes with various practical examples based on free software tools and open scientific data for reproducible research.

The books introductory section offers a perspective on Ambisonics spanning from the origins of coincident recordings in the 1930s to the Ambisonic concepts of the 1970s, as well as classical ways of applying Ambisonics in first-order coincident sound scene recording and reproduction that have been practiced since the 1980s. As, from time to time, the underlying mathematics become quite involved, but should be comprehensive without sacrificing readability, the book includes an extensive mathematical appendix. The book offers readers a deeper understanding of Ambisonic technologies, and will especially benefit scientists, audio-system and audio-recording engineers.

In the advanced sections of the book, fundamentals and modern techniques as higher-order Ambisonic decoding, 3D audio effects, and higher-order recording are explained. Those techniques are shown to be suitable to supply audience areas ranging from studio-sized to hundreds of listeners, or headphone-based playback, regardless whether it is live, interactive, or studio-produced 3D audio material.

Arvustused

The subject will doubtless continue to fascinate scientists and engineers for some years to come. (Philip Nelson, Physics Today, June, 2020)

1 XY, MS, and First-Order Ambisonics 1(22)
1.1 Blumlein Pair: XY Recording and Playback
2(1)
1.2 MS Recording and Playback
3(2)
1.3 First-Order Ambisonics (FOA)
5(8)
1.3.1 2D First-Order Ambisonic Recording and Playback
6(3)
1.3.2 3D First-Order Ambisonic Recording and Playback
9(4)
1.4 Practical Free-Software Examples
13(5)
1.4.1 Pd with Iemmatrix, Iemlib, and Zexy
13(1)
1.4.2 Ambix VST Plugins
13(5)
1.5 Motivation of Higher-Order Ambisonics
18(3)
References
21(2)
2 Auditory Events of Multi-loudspeaker Playback 23(18)
2.1 Loudness
24(1)
2.2 Direction
25(9)
2.2.1 Time Differences on Frontal, Horizontal Loudspeaker Pair
25(1)
2.2.2 Level Differences on Frontal, Horizontal Loudspeaker Pair
25(2)
2.2.3 Level Differences on Horizontally Surrounding Pairs
27(1)
2.2.4 Level Differences on Frontal, Horizontal to Vertical Pairs
28(1)
2.2.5 Vector Models for Horizontal Loudspeaker Pairs
28(3)
2.2.6 Level Differences on Frontal Loudspeaker Triangles
31(1)
2.2.7 Level Differences on Frontal Loudspeaker Rectangles
31(1)
2.2.8 Vector Model for More than 2 Loudspeakers
32(1)
2.2.9 Vector Model for Off-Center Listening Positions
32(2)
2.3 Width
34(2)
2.3.1 Model of the Perceived Width
35(1)
2.4 Coloration
36(2)
2.5 Open Listening Experiment Data
38(1)
References
38(3)
3 Amplitude Panning Using Vector Bases 41(12)
3.1 Vector-Base Amplitude Panning (VBAP)
42(2)
3.2 Multiple-Direction Amplitude Panning (MDAP)
44(4)
3.3 Challenges in 3D Triangulation: Imaginary Loudspeaker Insertion and Downmix
48(2)
3.4 Practical Free-Software Examples
50(2)
3.4.1 VBAP/MDAP Object for Pd
50(1)
3.4.2 SPARTA Panner Plugin
51(1)
References
52(1)
4 Ambisonic Amplitude Panning and Decoding in Higher Orders 53(46)
4.1 Direction Spread in First-Order 2D Ambisonics
54(3)
4.2 Higher-Order Polynomials and Harmonics
57(1)
4.3 Angular/Directional Harmonics in 2D and 3D
58(1)
4.4 Panning with Circular Harmonics in 2D
58(3)
4.5 Ambisonics Encoding and Optimal Decoding in 2D
61(1)
4.6 Listening Experiments on 2D Ambisonics
61(6)
4.7 Panning with Spherical Harmonics in 3D
67(4)
4.8 Ambisonic Encoding and Optimal Decoding in 3D
71(1)
4.9 Ambisonic Decoding to Loudspeakers
72(9)
4.9.1 Sampling Ambisonic Decoder (SAD)
72(1)
4.9.2 Mode Matching Decoder (MAD)
73(1)
4.9.3 Energy Preservation on Optimal Layouts
73(1)
4.9.4 Loudness Deficiencies on Sub-optimal Layouts
74(1)
4.9.5 Energy-Preserving Ambisonic Decoder (EPAD)
74(1)
4.9.6 All-Round Ambisonic Decoding (AllRAD)
75(2)
4.9.7 EPAD and AllRAD on Sub-optimal Layouts
77(1)
4.9.8 Decoding to Hemispherical 3D Loudspeaker Layouts
77(4)
4.10 Practical Studio/Sound Reinforcement Application Examples
81(4)
4.11 Ambisonic Decoding to Headphones
85(6)
4.11.1 High-Frequency Time-Aligned Binaural Decoding (TAC)
88(1)
4.11.2 Magnitude Least Squares (MagLS)
89(1)
4.11.3 Diffuse-Field Covariance Constraint
90(1)
4.12 Practical Free-Software Examples
91(5)
4.12.1 Pd and Circular/Spherical Harmonics
91(1)
4.12.2 Ambix Encoder, IEM MultiEncoder, and IEM AllRADecoder
92(3)
4.12.3 Reaper, IEM RoomEncoder, and IEM BinauralDecoder
95(1)
References
96(3)
5 Signal Flow and Effects in Ambisonic Productions 99(32)
5.1 Embedding of Channel-Based, Spot-Microphone, and First-Order Recordings
101(2)
5.2 Frequency-Independent Ambisonic Effects
103(7)
5.2.1 Mirror
104(2)
5.2.2 3D Rotation
106(1)
5.2.3 Directional Level Modification/Windowing
107(2)
5.2.4 Warping
109(1)
5.3 Parametric Equalization
110(1)
5.4 Dynamic Processing/Compression
111(1)
5.5 Widening (Distance/Diffuseness/Early Lateral Reflections)
112(2)
5.6 Feedback Delay Networks for Diffuse Reverberation
114(2)
5.7 Reverberation by Measured Room Impulse Responses and Spatial Decomposition Method in Ambisonics
116(3)
5.8 Resolution Enhancement: DirAC, HARPEX, COMPASS
119(1)
5.9 Practical Free-Software Examples
120(7)
5.9.1 IEM, ambix, and mcfx Plug-In Suites
120(5)
5.9.2 Aalto SPARTA
125(1)
5.9.3 Rode
126(1)
References
127(4)
6 Higher-Order Ambisonic Microphones and the Wave Equation (Linear, Lossless) 131(22)
6.1 Equation of Compression
132(1)
6.2 Equation of Motion
132(1)
6.3 Wave Equation
133(2)
6.3.1 Elementary Inhomogeneous Solution: Green's Function (Free Field)
133(2)
6.4 Basis Solutions in Spherical Coordinates
135(2)
6.5 Scattering by Rigid Higher-Order Microphone Surface
137(2)
6.6 Higher-Order Microphone Array Encoding
139(2)
6.7 Discrete Sound Pressure Samples in Spherical Harmonics
141(1)
6.8 Regularizing Filter Bank for Radial Filters
142(3)
6.9 Loudness-Normalized Sub-band Side-Lobe Suppression
145(1)
6.10 Influence of Gain Matching, Noise, Side-Lobe Suppression
146(2)
6.11 Practical Free-Software Examples
148(3)
6.11.1 Eigenmike Em32 Encoding Using Mcfx and IEM Plug-In Suites
148(2)
6.11.2 SPARTA Array2SH
150(1)
References
151(2)
7 Compact Spherical Loudspeaker Arrays 153(16)
7.1 Auditory Events of Ambisonically Controlled Directivity
154(1)
7.1.1 Perceived Distance
154(1)
7.1.2 Perceived Direction
154(1)
7.2 First-Order Compact Loudspeaker Arrays and Cubes
155(2)
7.3 Higher-Order Compact Spherical Loudspeaker Arrays and IKO
157(7)
7.3.1 Directivity Control
159(3)
7.3.2 Control System and Verification Based on Measurements
162(2)
7.4 Auditory Objects of the IKO
164(2)
7.4.1 Static Auditory Objects
164(1)
7.4.2 Moving Auditory Objects
165(1)
7.5 Practical Free-Software Examples
166(3)
7.5.1 IEM Room Encoder and Directivity Shaper
166(1)
7.5.2 IEM Cubes 5.1 Player and Surround with Depth
167(2)
7.5.3 IKO
169(1)
References 169(2)
Appendix 171
Franz Zotter studied Electrical and Audio Engineering at the University  of Technology and University of Music and Performing Arts in Graz, Austria. By the time receiving his diploma in 2004, he had the opportunity to join the Institute of Electronic Music and Acoustics as a researcher, later on also lecturer. In 2009, he finished his Ph.D. dealing with the topic of spherical arrays for sound radiation analysis and synthesis, and he was awarded the Lothar-Cremer medal by the German Acoustical Society (DEGA) in 2012 for the work on this topic and Ambisonics, and he became tenuring assistant professor in 2019. He is a member of the DEGA, chairs the DEGA TC on virtual acoustics, he is a member of the Audio Engineering Society (AES), and the society of German Tonmeisters (VDT).

Matthias Frank studied Electrical and Audio Engineering at the University of Technology and the University of Music and Performing Arts in Graz, Austria. After receiving his diploma in 2009, he joined theInstitute of Electronic Music and Acoustics in Graz as a researcher and lecturer. In 2013, he finished his Ph.D. on the spatial and timbral properties of auditory objects created by multiple loudspeakers and models thereof, in particular considering Ambisonics. He is a member of the Audio Engineering Society (AES) and the German Acoustical Society (DEGA), and the society of German Tonmeisters (VDT).