Agnieszka Roginska is Music Associate Professor and Associate Director of the Music Technology program at New York University. Her research focuses on the analysis, simulation, and applications of immersive and 3D audio.

Paul Geluso is Music Assistant Professor at New York University in the Music Technology program. His work focuses on the theoretical, practical, and artistic aspects of sound recording and reproduction.

Contributors

Foreword

WIESLAW WOSZCZYK

Acknowledgements

Introduction

AGNIESZKA ROGINSKA AND PAUL GELUSO

1 Perception of Spatial Sound

ELIZABETH M. WENZEL, DURAND R. BEGAULT, AND MARTINE GODFROY-COOPER

• Auditory Physiology


• Human Sound Localization


• Head-Related Transfer Functions (HRTFs) and Virtual Acoustics


• Neural Plasticity in Sound Localization


• Distance and Environmental Context Perception


• Conclusion

2 History of 3D Sound

BRAXTON BOREN

• Introduction


• Prehistory


• Ancient History


• Space and Polyphony


• Spatial Separation in the Renaissance


• Spatial Innovations in Acoustic Music


• 3D Sound Technology


• Technology and Spatial Music


• Conclusions and Thoughts for the Future

3 Stereo

PAUL GELUSO

• Stereo Systems


• Creating a Stereo Image


• Stereo Enhancement


• Summary

4 Binaural Audio Through Headphones

AGNIESZKA ROGINSKA

• Headphone Reproduction


• Binaural Sound Capture


• HRTF Measurement


• Binaural Synthesis


• Inside-the-Head Locatedness


• Advanced HRTF Techniques


• Quality Assessment


• Binaural Reproduction Methods


• Headphone Equalization and Calibration


• Conclusions


• Appendix: Near Field

5 Binaural Audio Through Loudspeakers

EDGAR CHOUEIRI

• Introduction


• The Fundamental XTC Problem


• Constant-Parameter Regularization


• Frequency-Dependent Regularization


• The Analytical BACCH Filter


• Individualized BACCH Filters


• Conclusions


• Appendix A Derivation of the Optimal XTC Filter


• Appendix B: Numerical Verification

6 Surround Sound

FRANCIS RUMSEY

• The Evolution of Surround Sound


• Surround Sound Formats


• Surround Sound Delivery and Coding


• Surround Sound Monitoring


• Surround Sound Recording Techniques


• Perceptual Evaluation


• Predictive Models of Surround Sound Quality

7 Height Channels

SUNGYOUNG KIM

• Background


• Fundamental Psychoacoustics of Height-Channel Perception


• Multichannel Reproduction Systems With Height Channels


• Recording With Height Channels


• Conclusion

8 Object-Based Audio

NICOLAS TSINGOS

• Introduction


• Spatial Representation and Rendering of Audio Objects


• Advanced Metadata and Applications of Object-Based Representations


• Managing Complexity of Object-Based Content


• Audio Object Coding


• Capturing Audio Objects


• Tradeoffs of Object-Based Representations


• Object-Based Loudness Estimation and Control


• Object-Based Program Interchange and Delivery


• Conclusion

9 Sound Field

ROZENN NICOL

• Introduction


• Development of the Sound Field


• Higher Order Ambisonics (HOA)


• Sound Field Synthesis


• Sound Field Formats


• Conclusion


• Appendix A: Mathematics and Physics of Sound Field


• Appendix B: Mathematical Derivation of W, X, Y, Z


• Appendix C: The Optimal Number of Loudspeakers

10 Wave Field Synthesis

THOMAS SPORER, KARLHEINZ BRANDENBURG, SANDRA BRIX, AND CHRISTOPH

SLADECZEK

• Motivation and History


• Separation of Sound Objects and Room


• WFS Reproduction: Challenges and Solutions


• WFS With Elevation


• Audio Metadata and WFS


• Applications Based on WFS and Hybrid Schemes


• WFS and Object-Based Sound Production

11 Applications of Extended Multichannel Techniques

BRETT LEONARD

• Source Panning and Spreading


• An Immersive Overhaul for Preexisting Content


• Considerations in Mixing for Film and Games


• Envelopment


• Musings on Immersive Mixing

Index