| Title |
Published |
Abstract |
| Contrasting ITU 5.1
and Panor-ambiophonic 4.1 Surround Sound Recording Using
OCT and Sphere Microphones |
AES112th Int'l Conv 5/02 Munich |
Two multi-channel microphone techniques for natural
music and sound effects reproduction are experimentally
compared. Simultaneous surround sound recordings of
several genres of music and ambience are made in concert
hall, studio, and outdoors. Trained listeners
subjectively evaluate the abilities and tradeoffs of each
system to recreate accurate panoramic localization and
spatial impression of opera, bluegrass with audience
participating, flute quartet, brass quintet, marching
bands with surrounding crowd and building echoes, and
360° "Walkabout" azimuth test. Differing
speaker layouts for 5.1 and "Panor-ambiophonic"
Surround are shown to satisfy two distinct listening
audiences, which are further divided into home,
automotive, and PC markets. An approach to recording
level-setting, compatible production, and delivery
formats are introduced to satisfy these diverse end uses. |
| Compatible
PanAmbiophonic 4.1 and PerAmbiophonic 6.1 Surround Sound
for Advanced Television – Beyond ITU 5.1 |
SMPTE 144th Int'l Conv 10/02 Pasadena |
ITU 5.1 – the multichannel speaker standard for
Advanced Television and home cinema – is not
extensible to periphony – the entire, spherical
wavefield of natural human hearing. Psychoacoustic theory
and experimental recordings explore future-proof
capturing, critical monitoring, and compatible production
to help sound engineers today achieve more realistic
multichannel television and cinema. |
| Transforming
Ambiophonic + Ambisonic 3D Surround Sound to & from
ITU 5.1/6.1 |
AES 114 Int'l Conv 3/03 Amsterdam |
ITU 6.1 with six discrete full-range audio channels,
implemented in DVD-A, SACD, and DTS-ES Discrete, provide
the means to deliver full sphere periphonic 3D surround
sound. For compatible distribution, the channels are
transformed for 5.1/6.1 reproduction, but can still be
fully recovered for "PerAmbio" reproduction
– an Ambisonic + Ambiophonic hybrid approach,
described in a prior paper, that maximizes 3D envelopment
along with front stage imaging and spaciousness, while
economizing the number of channels and speakers. To
clarify that fewer media channels "r" are
required than speakers "s" the use of MCN -
multichannel numbering, in the form "r.lfe.s"
is proposed. Experimental "PerAmbio 6.1.10" (10
speakers or more + subwoofer) recordings test six
encoding variations applicable in home theater, virtual
reality, and music-only production. |
| Scalable
Tri-play Recording for Stereo, ITU 5.1/6.1 2D, and
Periphonic 3D (with Height) Compatible Surround Sound
Reproduction |
AES 115th Int'l Conv 10/03 NYC |
Objectives: Take the next step toward reproducing
human hearing AND make better recordings in 5.1. In life,
we hear sources we see – but also reflections and
reverberation we don't see. Each sonic arrival is
individually direction-stamped by our unique HRTF,
including height, tonally colored by our pinna.
Preserving 3D directionality is key to life-like hearing.
A practical, scalable approach is presented (pat.pend.)
– a way to “transform” 3D (full sphere)
recordings for uncompromised 2D reproduction in stereo or
5.1/6.1 without any decoding. By adding a decoder and
speakers, full 3D is losslessly “reconstituted”
from 6-channel media. Experimental “tri-play”
6-channel “PerAmbio 3D/2D” recordings have been
made and demonstrations presented (AES 114th
Amsterdam 3/2003 & AES 24th Banff 6/2003) with
praised results. |