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[ Technical Papers ]
^Updated 11/02/03^

Ambiophonics
2nd Edition
Introduction
Preface
Chapter 1
Chapter 2
Chapter 3
Chapter 4
Chapter 5
Chapter 6
Chapter 7
Chapter 8

Chapter 9
Appendix A
Appendix B

Figures
>Figure 1
>Figure 2
>Figure 3
>Figure 4
>Figure 5

 

AES 24th International Conference on Multichannel Audio 1

Recording Concert Hall Acoustics For Posterity
Angelo Farina1, Regev Ayalon2
1 Industrial Engineering Dept., University of Parma, Italy
farina@unipr.it
2 K.S. Waves Inc., Tel Aviv, ISRAEL
regev@waves.com

ACKNOWLEDGMENTS

This research was funded and logistically supported by Waves (www.waves.com), as part of the development of a new reverberation tool based on sampled acoustical impulse responses and capable of surround multichannel processing.

The calibration of the loudspeaker and the measurements performed in the theatres in Japan were possible only thanks to the support of prof. Yoichi Ando and colleagues of the University of Kobe, Japan (Kosuke Kato, Takuya Hotehama, Yosuke Okamoto), who allowed the authors to employ their laboratories and who helped during the measurements. Furthermore, useful discussion and exchange of technical information with these colleagues allowed the authors to improve the measurement technique.

The study of various rendering methods and of advanced hybrid multichannel solutions has been actively supported by the Ambiophonics Institute, where the listening experiments with various formats were performed.

The authors want to express their gratitude to the owners of the 9 theatres where the measurements were performed, who kindly also gave permission to publish the measured data, and to L. Tronchin and A. Avanzini, for their help during the measurements.

REFERENCES

[1] Michael Gerzon - "Recording Concert Hall Acoustics for Posterity", JAES Vol. 23, Number 7 p. 569 (1975)

[2] L. Tronchin, A. Farina - "The acoustics of the former Teatro "La Fenice", Venice", JAES Vol. 45, Number 12 p. 1051 (1997)

[3] "Carta di Ferrara", CIARM, http://acustica.ing.unife.it/ciarm/Carta.htm

[4] "Guidelines for acoustical measurements inside historical opera houses: procedures and validation", CIARM, http://acustica.ing.unife.it/ciarm/download.htm

[5] A. Farina, R. Glasgal, E. Armelloni, A. Torger - "Ambiophonic Principles for the Recording and Reproduction of Surround Sound for Music" - 19th AES Conference on Surround Sound, Techniques, Technology and Perception - Schloss Elmau, Germany, 21-24 June 2001.

[6] E.Hulsebos, D.de Vries, and E. Bourdillat - "Improved Microphone Array Configurations for Auralization of Sound Fields by Wave-Field Synthesis", JAES Vol. 50, Number 10 p. 779 (2002)

[7] A. Karamustafaoglu, U. Horbach, R. Pellegrini P. Mackensen, G. Theile - "Design and Applications of a Data-based Auralisation System for Surround Soundî, 106th AES Convention, pre-print n. 4976 (1999).

[8] M. A. Poletti - "A Unified Theory of Horizontal Holographic Sound Systems", JAES Vol. 48, Number 12 p. 1049 (2000).

[9] A. Farina ñ ìSimultaneous measurement of impulse response and distortion with a sweptsine techniqueî, 110th AES Convention, Paris 18- 22 February 2000.

[10] S. M¸ller, P. Massarani ñ ìTransfer-Function Measurement with Sweepsî, JAES Vol. 49, Number 6 pp. 443 (2001).

[11] G. Stan, J.J. Embrechts, D. Archambeau ñ ìComparison of Different Impulse Response Measurement Techniquesî, JAES Vol. 50, No. 4, p. 249, 2002 April.

[12] Y. Ando, ìConcert hall acousticsî. Springer Series in electrophysics, Berlin, 1985.

[13] V.L. Jordan, ìA group of objective acoustical criteria for concert hallsî, Applied Acoustics, vol. 14 (1981)

[14] A. Torger, A. Farina ñ ìReal-time partitioned convolution for Ambiophonics surround soundî, 2001 IEEE Workshop on Applications of Signal Processing to Audio and Acoustics - Mohonk Mountain House New Paltz, New York October 21-24, 2001.

[15] T. G. Stockham Jr., ìHigh-speed convolution and correlationî, AFIPS Proc. 1966 Spring Joint Computer Conf., Vol 28, Spartan Books, 1966, pp. 229 - 233.

[16] W.G. Gardner, ìEfficient convolution without input-output delayî, JAES vol. 43, n. 3, 1995 March, pp. 127-136.

[17] O. Kirkeby, P. A. Nelson, H. Hamada, ìThe "Stereo Dipole" - A Virtual Source Imaging System Using Two Closely Spaced Loudspeakersî ñ JAES vol. 46, n. 5, 1998 May, pp. 387-395.

[18] O.Kirkeby, P.A. Nelson, P. Rubak, A. Farina ñ ìDesign of Cross-talk Cancellation Networks by using Fast Deconvolutionî - 106th AES Convention, Munich, 8-11 may 1999.

[19] Lake DSP Huron Workstation, http://www.lakedsp.com

[20] A. Farina, E. Ugolotti, ìSoftware Implementation Of B-Format Encoding And Decodingî, Pre-prints of the 104rd AES Convention, Amsterdam, 15 - 20 May, 1998.

[21] A.Field, ìB-dec High resolution First Order Ambisonic B-format decoderî, University of York, http://www.york.ac.uk/inst/mustech/3d_audio

[22] G. Theile ñ ìMultichannel Natural Music Recording Based on Psychoacoustic Principlesî - AES 19 th International Conference, May 2001.

[23] Roland Jacques, MultiMedia Projekt VERDI, TU Ilmenau Laboratory, Germany 2002 - http://www.stud.tuilmenau. de/~proverdi/daten/um1en.html

[24] Williams, M.; Le Du, G. ñ ìMultichannel Microphone Array Designî, 108th AES Convention, 2000, Preprint 5157.

[25] Herrmann, U., Henkels, V., Braun, D. ñ ìComparison of 5 surround microphone methodsî, Proceedings 20th Tonmeistertagung, 1998, (ISBN 3-598-20361-6), pp. 508-517.

[26] D. McGriffy, ìVisual Virtual Microphoneî, http://mcgriffy.com/audio/ambisonic/vvmic

[27] E. Hulsebos, T. Schuurmans, D. de Vries and R. Boone ñ ìCircular microphone array for discrete multichannel audio recordingî, 114th AES Convention, Amsterdam 22-25 March 2003, preprint n. 5716.

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