LINKWITZ LAB What are the On-axis & Off-axis

Slides:



Advertisements
Similar presentations
Pitch, Timbre, Source Separation, and the Myths of Sound Localization
Advertisements

Auditory Localisation
Targets recognize the effects of the diffraction of sound waves recognize the effects of the interference of sound waves perform calculations involving.
1 3D sound reproduction with “OPSODIS” and its commercial applications Takashi Takeuchi, PhD Chief Technical Officer OPSODIS Limited Institute of Sound.
Spatial Perception of Audio J. D. (jj) Johnston Neural Audio Corporation.
1 Media Processing – Audio Part Dr Wenwu Wang Centre for Vision Speech and Signal Processing Department of Electronic Engineering
Spatial Perception of Audio vs. The Home Theatre
Reflections Diffraction Diffusion Sound Observations Report AUD202 Audio and Acoustics Theory.
Back to Stereo: Stereo Imaging and Mic Techniques Huber, Ch. 4 Eargle, Ch. 11, 12.
Creating The Recorded Image of Turkish Art Music: The Decision Making Process in a Recording Session Doç. Dr. CAN KARADOĞAN İTÜ TMDK.
PREDICTION OF ROOM ACOUSTICS PARAMETERS
3-D Sound and Spatial Audio MUS_TECH 348. Cathedral / Concert Hall / Theater Sound Altar / Stage / Screen Spiritual / Emotional World Subjective Music.
Microphones and Room Acoustics and Their Influence on Voice Signals Svante Granqvist 1, Jan Švec 2 1 Department of Speech, Music and Hearing (TMH), Royal.
Monitoring Definition: A Monitor refers to a device that acts as a subjective Professional standard or reference. We do all our work based on the reference.
The Future of Sound Reinforcement(?) Prof. David G. Meyer School of Electrical & Computer Engineering.
Hearing & Deafness (3) Auditory Localisation
STUDIOS AND LISTENING ROOMS
Spectral centroid 6 harmonics: f0 = 100Hz E.g. 1: Amplitudes: 6; 5.75; 4; 3.2; 2; 1 [(100*6)+(200*5.75)+(300*4)+(400*3.2)+(500*2 )+(600*1)] / = 265.6Hz.
Harmonics and Overtones Waveforms / Wave Interaction Phase Concepts / Comb Filtering Beat Frequencies / Noise AUD202 Audio and Acoustics Theory.
Auditorium acoustic (continued) 1. Sound sources Sound source can be characterized by power and directivity Directivity factor Q – ratio of sound intensity.
3-D Sound and Spatial Audio MUS_TECH 348. What are Some Options for Creating DTFs?
L INKWITZ L AB Accurate sound reproduction from two loudspeakers in a living room 13-Nov-07 (1) Siegfried Linkwitz.
1 Recording Fundamentals INART 258 Fundamentals of MIDI & Digital Audio Mark BalloraMark Ballora, instructor 1.
 Sound is a form of energy similar to light, which travels from one place to another by alternately compressing and expanding the medium through which.
Mono and Stereo Miking Techniques. Choosing Microphones Limited collection: useful for broad range of applications  Neumannn KM 184’s (desert island.
Spatial Perception of Audio vs. The Home Theatre James D. Johnston Chief Scientist, DTS, Inc.
Acoustics/Psychoacoustics Huber Ch. 2 Sound and Hearing.
Improved 3D Sound Delivered to Headphones Using Wavelets By Ozlem KALINLI EE-Systems University of Southern California December 4, 2003.
Applied Psychoacoustics Lecture: Binaural Hearing Jonas Braasch Jens Blauert.
Acoustical Treatments and the PAC By: Sarah, Keaton, Luke, and Zeynep.
Issac Garcia-Munoz Senior Thesis Electrical Engineering Advisor: Pietro Perona.
Rumsey Chapter 16 Day 3. Overview  Stereo = 2.0 (two discreet channels)  THREE-DIMENSIONAL, even though only two channels  Stereo listening is affected.
Definition and Coordination of Signal Processing Functions for telephone connections involving automotive speakerphones Scott Pennock Senior Hands-Free.
Supervisor: Dr. Boaz Rafaely Student: Limor Eger Dept. of Electrical and Computer Engineering, Ben-Gurion University Goal Directional analysis of sound.
Developing a model to explain and stimulate the perception of sounds in three dimensions David Kraljevich and Chris Dove.
 Space… the sonic frontier. Perception of Direction  Spatial/Binaural Localization  Capability of the two ears to localize a sound source within an.
Timo Haapsaari Laboratory of Acoustics and Audio Signal Processing April 10, 2007 Two-Way Acoustic Window using Wave Field Synthesis.
Revision CUS30109 Certificate III in music. Microphones - Condenser w phantom power - Dynamic - What each is used for - Polar patterns/ frequency response.
Chapter 12: Sound Localization and the Auditory Scene.
Audio Systems Survey of Methods for Modelling Sound Propagation in Interactive Virtual Environments Ben Tagger Andriana Machaira.
3-D Sound and Spatial Audio MUS_TECH 348. Physical Modeling Problem: Can we model the physical acoustics of the directional hearing system and thereby.
L INKWITZ L AB S e n s i b l e R e p r o d u c t i o n & R e c o r d i n g o f A u d i t o r y S c e n e s Hearing Spatial Detail in Stereo Recordings.
Jens Blauert, Bochum Binaural Hearing and Human Sound Localization.
Figures for Chapter 14 Binaural and bilateral issues Dillon (2001) Hearing Aids.
Spatial and Spectral Properties of the Dummy-Head During Measurements in the Head-Shadow Area based on HRTF Evaluation Wersényi György SZÉCHENYI ISTVÁN.
Estimation of Sound Source Direction Using Parabolic Reflection Board 2008 RISP International Workshop on Nonlinear Circuits and Signal Processing (NCSP’08)
3-D Sound and Spatial Audio MUS_TECH 348. Stereo Loudspeaker Reproduction.
Maximising the acoustics of your meeting room
Listeners weighting of cues for lateral angle: The duplex theory of sound localization revisited E. A. MacPherson & J. C. Middlebrooks (2002) HST. 723.
PSYC Auditory Science Spatial Hearing Chris Plack.
3-D Sound and Spatial Audio MUS_TECH 348. Environmental Acoustics, Perception and Audio Processing: Envelopment.
Fletcher’s band-widening experiment (1940)
SPATIAL HEARING Ability to locate the direction of a sound. Ability to locate the direction of a sound. Localization: In free field Localization: In free.
Intro to waves. The source of all waves is something that vibrates Wave Description.
3-D Sound and Spatial Audio MUS_TECH 348. What do these terms mean? Both terms are very general. “3-D sound” usually implies the perception of point sources.
Sound Localization and Binaural Hearing
Auditory Localization in Rooms: Acoustic Analysis and Behavior
PREDICTION OF ROOM ACOUSTICS PARAMETERS
What is stereophony? Stereos = solid (having dimensions: length width, height) Phonics = study of sound stereophony (stereo) is an aural illusion – a.
3D sound reproduction with “OPSODIS” and its commercial applications
Auditorium acoustic (continued)
Mid-Term Review John W. Worley AudioGroup, WCL
Architectural Acoustics
Spatial Perception of Audio vs. The Home Theatre
PREDICTION OF ROOM ACOUSTICS PARAMETERS
Hearing Spatial Detail
Localizing Sounds.
Intensity Stereo Uses only differences in intensity between two channels to create stereo image Two microphone diaphragms are placed as close together.
3 primary cues for auditory localization: Interaural time difference (ITD) Interaural intensity difference Directional transfer function.
3-D Sound and Spatial Audio
Presentation transcript:

LINKWITZ LAB What are the On-axis & Off-axis S e n s i b l e R e p r o d u c t i o n & R e c o r d i n g o f A u d i t o r y S c e n e s What are the On-axis & Off-axis Frequency Response Requirements for Stereo Loudspeakers?

A single loudspeaker in a room HEARING: Direction Distance Room Tonality lateral shift angular shift Intelligibility Gestalt Auditory Horizon

A single loudspeaker in a room HEARING: Direction Distance Room Tonality lateral shift angular shift Intelligibility Gestalt Auditory Horizon Dipole loudspeaker near a room corner

Frequency Response for a mono loudspeaker in a room On-axis: Flat Off-axis: Frequency independent at every angle acoustically small point source Room: Flat reverberation

Monaural Phantom Source from two loudspeakers HEARING: Unnatural phenomenon Direction? Lateral shift? Angular shift? Distance? Size? Tonality? Gestalt?

Monaural Phantom Source from two loudspeakers Cross-talk cancellation 30 degree HRTF Sweet spot size Off-center sound

Monaural Phantom Source from two loudspeakers Cross-talk cancellation Stereo Dipole HRTF Sweet spot size Phantom source width Off-center sound

Phantom Source from two loudspeakers Cross-talk cancellation Stereo Dipole Don B. Keele

Head-Related-Transfer-Functions Diffraction Level at eardrum relative to frontal incidence at 00 Level at a point on a rigid sphere relative to the level without the sphere Duda & Martens, 1998

Sphere-Related-Transfer-Functions Level at 22.50 & 450 incidence relative to 00 incidence (22.50) 17.5 cm diameter 450 3.3 dB Level at a point on a rigid sphere relative to the level at the center without the sphere 22.50 0 dB Inverse of empirical EQ Shaw, 1974

On-axis Frequency Response of stereo loudspeakers Rolled-off towards high frequencies

Experimental equalization networks Equalization curves arrived at by listening Circuit detail from ORION Revision 3

Off-axis Frequency Response & Room Reflections As on-axis Independent of angle except for amplitude Reflections: Symmetrical Delayed Source types: Omni Dipole Cardioid L R

Stereo setup in the room Loudspeaker-Listener triangle Symmetry to reflective surfaces Loudspeakers out in the room Lively room Diffuse end Dead end Hiding the room Hiding the loudspeakers D I F F U S E – E N D L R >1 m D E A D - E N D

Phantom Source placement horizontally by channel differences Damaske, 2008 Duplex Theory of Directional Hearing: Inter-aural Time Differences (ITD) at low frequencies Inter-aural Level Differences (ILD) at high frequencies (Ignoring HRTF changes)

Recording as creation of Art Source size Perspective Distance Timbre The Mix of microphone signals

The optimum frequency response and setup of loudspeakers in the room are essential to Phantom Source Creation and to experience Stereo at its full capability STEREO System = ILLUSION Engine

LINKWITZ LAB S e n s i b l e R e p r o d u c t i o n & R e c o r d i n g o f A u d i t o r y S c e n e s