Multichannel Audio Technologies References

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Multichannel Audio Technologies
References
Books
[1] J. Blauert, Spatial Hearing, MIT Press Cambridge MA, 2003.
[2] J.W.S. Rayleigh, Theory of Sound, Dover, N.Y., 1945.
[3] F. Rumsey, Spatial Audio, Focal Press, 2001.
[4] Bobby Owsinski, The Mix Engineers Handbook, Intertec Publishing
Corporation, 1999.
[5] Ron Streicher and F. Alton Everest, The New Stereo Soundbook, Third
Edition, Audio Engineering Associates, 2006.
[6] M. Bacik, “Stereo to 5.1 surround mapping,” 2005, Masters thesis, Trinity
College Dublin.
[7] G. Kearney, “Auditory scene synthesis using virtual acoustic recording and
reproduction,” PhD Thesis, Trinity College Dublin, 2010.
[8] G. Martin, Introduction to Surround Recording,
http://www.tonmeister.ca/main/textbook/index.html, 2007.
[9] Rumsey, F. and Mc Cormick, T., Sound and Recording: An Introduction,
Elsevier, 2006.
Binaural
[10] Harald Viste and Gianpaulo Evangelista, “Binaural source localization,” in
Proceedings of the 7th international conference on Digital Audio Effects
(DAFx 0́4), Naples, Italy, October 2004.
[11] Jean-Marc Jot and Scott Wardle, “Approaches to binaural synthesis,” in
105th Convention of the Audio Engineering Society, San Francisco, California,
USA, September 1998, Paper 4861.
[12] C. Brown and R. Duda, “A structural model for binaural sound synthesis,”
1998.
[13] E. M. Wenzel, M Arruda, D. J. Kistler, and F. L. Wightman, “Localization
using non-individualised Head Related Transfer Functions,” The Journal of the
Acoustical Society of America, vol. 94, July 1993.
[14] Corey I. Cheng and Gregory H. Wakefield, “Introduction to Head-Related
Transfer Functions (HRTFs): Representations of HRTFs in Time, Frequency,
and Space,” SIMULATION, vol. 49, no. 4, pp. 231–249, 2001.
[15] Pauli Minnaar, Soren Krarup Olesen, Flemming Christensen, and Henrik
Møller, “The importance of head movements for binaural room synthesis,” in
Proceedings of the 2001 International Conference on Auditory Display, Espoo,
Finland, July 2001, pp. 21–25.
[16] A. McKeag and D. McGrath, “Sound field format to binaural decoder with
head-tracking,” in 6th Australian Regional Convention of the AES, 1996,
Paper 4302.
[17] A. McKeag and D. McGrath, “Using auralisation techniques to render 5.1
surround to binaural and playback,” in 102nd Convention of the Audio
Engineering Society, Munich, Germany, March 1997, Paper 4458.
Localisation
[18] Adelbert W. Bronkhorst, “Localization of real and virtual sound sources,”
The Journal of the Acoustical Society of America, vol. 98, no. 5, pp. 2542–
2553, 1995.
[19] W. M. Hartmann, “Localization of sound in rooms,” The Journal of the
Acoustical Society of America, vol. 74, pp. 1380–1391, Nov. 1983.
[20] B. Rakerd and W. M. Hartmann, “Localization of sound in rooms, II: The
effects of a single reflecting surface,” The Journal of the Acoustical Society of
America, vol. 78, pp. 524–533, Aug. 1985.
[21] B. Rakerd and W. M. Hartmann, “Localization of sound in rooms, III:
Onset and duration effects,” The Journal of the Acoustical Society of America,
vol. 80, pp. 1695–1706, Dec. 1986.
[22] B. Rakerd and W. M. Hartmann, “Localization of sound in rooms, IV: The
Franssen effect,” The Journal of the Acoustical Society of America, vol. 86,
pp. 1366–1373, October 1989.
[23] W. M. Hartmann, “How we localize sound,” Physics Today, pp. 24–29,
November 1999.
[24] E. A. MacPherson and J. C. Middlebrooks, “Listener weighting of cues for
lateral angle: The Duplex Theory of sound localization revisited,” The Journal
of the Acoustical Society of America, vol. 111, pp. 2219–2236, May 2002.
[25] H. L. Han, “On the relation between directional bands and head
movements,” in 92nd Convention of the Audio Engineering Society, Vienna,
Austria, February 1992.
[26] G. Kearney, E. Bates, D. Furlong, and F. Boland, “A comparative study of
the performance of spatialization techniques for a distributed audience in a
concert hall environment,” in 31st International Conference of the Audio
Engineering Society, London, UK, June 2007, Paper 13.
[27] V. Pulkki and T. Hirvonen, “Localization of virtual sources in multichannel audio reproduction,” IEEE Transactions on Speech and Audio
Processing, vol. 13, no. 1, pp. 105–119, 2005.
[28] Douglas S. Brungart and William R. Rabiowitz, “Auditory localization in
the near-field,” in Proceedings of the 1996 International Conference on
Auditory Display, 1996.
Cross Modal Perception
[29] M. P. Hollier, A. N. Rimell, D. S. Hands, and R. M. Voelcker, “Multi- modal
perception,” BT Technology Journal, vol. 17, no. 1, pp. 35–46, 1999.
Ambisonics
[30] Roger K. Furness, “Ambisonics-an overview,” in 8th International
Conference of the Audio Engineering Society, Washington D.C., USA, April
1990, Paper 8-024.
[31] Jeffery S. Bamford and John Vanderkooy, “Ambisonic sound for us,” in
99th Convention of the Audio Engineering Society, New York, New York,
USA, October 1995, Paper 4138.
[32] D. G. Malham and A. Myatt, “3-D sound spatialisation using Ambisonic
techniques,” Computer Music Journal, vol. 19, no. 4, pp. 58–70, 1995.
[33] M. A. Gerzon, “Ambisonics in multi-channel broadcasting and video,”
Journal of the Audio Engineering Society, vol. 33, no. 11, pp. 859–871, 1985.
[34] M. A. Gerzon, “Periphony: With-height sound reproduction,” Journal of the
Audio Engineering Society, vol. 21, no. 1, pp. 2–10, 1973.
[35] E. Benjamin, R. Lee, and A. J. Heller, “Localization in horizontal-only
Ambisonic systems,” in 121st Convention of the Audio Engineering Society,
San Francisco, California, USA, 2006, Paper 6967.
[36] D. G. Malham, “Experience with large area 3-D Ambisonic sound systems,” Institute of Acoustics, vol. 8, no. 5, pp. 209–216, 1992.
[37] J. Schacher and P. Kocher, “Ambisonics spatialization tools for
max/msp,” www.icst.net, 2006.
[38] B. Wiggins, “The generation of panning Laws for irregular speaker arrays
using heuristic methods,” in Proceedings of the 31st International AES
conference, London, UK, 2007.
[39] S. Moreau, J. Daniel, and S Bertet, “3D sound field recording with Higher
Order Ambisonics- objective measurements and validation of a 4th order
spherical microphone,” in 120th Convention of the Audio Engineering Society,
Paris, France, 2006, Paper 6857.
Acoustics
[40] Leo Beranek, “Acoustics and musical qualities,” The Journal of the
Acoustical Society of America, vol. 99, no. 5, pp. 2647–2652, 1996.
[41] B.J.P.M. Van Munster, “Acoustics of sound recording control rooms past, present and future,” Tech. Rep., Eindhoven University of Technology,
the Netherlands, Department of Architecture, Physical aspects of the built
environment group (FAGO), April 2003.
[42] F. Everest, The Master Handbook of Acoustics: 3rd Edition, TAB Books,
McGraw-Hill, 1994.
Stereo
[43] Fritz Sippl, “Stereo sound for TV and video,” in 1st UK Conference of the
Audio Engineering Society, April 1988, Paper SWP-A1.
[44] F.K. Harvey, J.G. Cisek, D.J MacLean, and M.R. Schroeder, “Some
aspects of stereophony applicable to conference use,” Journal of the Audio
Engineering Society, vol. 11, no. 3, pp. 212–217, July 1963.
[45] A. Blumlein, “Improvements in and relating to sound transmission, sound
recording, and sound reproducing systems,” British Patent Specification
394325, 1931.
Spatial Music
[46] Jean-Marc Jot, “Synthesizing three-dimensional sound scenes in audio or
multimedia production and interactive human-computer interfaces,” in 5th
International conference: Interface to Real & Virtual Worlds, May 1996.
[47] John M. Chowning, “The simulation of moving sound sources,” Journal of
the Audio Engineering Society, vol. 19, no. 1, pp. 2–6, 1971.
[48] Espaces Nouveaux/ Ircam, “Spatialisateur, the spat processor and its
library of max objects,” October 1994, 1st Edition, IRCAM, Centre Georges
Pompidou.
[49] J. M. Jot and O. Warusfel, “A spatial processor for musicians and sound
engineers,” in CIARM: International Conference on Acoustics and Musi- cal
Research, 1995.
DTS
[50] DTS, “DTS-HD high definition audio,” 2007, http://www.dts.com/ dts-hd/,
accessed 15-01-2009.
[51] Inc. Digital Theater Systems (DTS), “Dts coherent acoustics encoder,”
2006, http://www.dts.com.
Dolby
[52] Dolby, “Surround sound, past present and future,” 1999,
http://www.dolby.com/uploadedFiles/zz-_Shared_Assets/
English_PDFs/Professional/2_Surround_Past.Present.pdf, accessed 29-032010.
[53] Dolby Laboratories Inc, “5.1-channel music production guidelines,” 2005,
www.dolby.com.
[54] Dolby Laboratories Inc, “All about audio metadata,” 2001, www.dolby.
com.
THX
[55] Lucasfilm Ltd. THX, “THX technical documentation,” 2002,
http:// www.thx.com and http://www.cinemaequipmentsales.com/thxindex.html
[56] Yamaha Corporation, “Multichannel Monitoring Tutorial Booklet,” October 2005, www.yamahaproaudio.com/downloads/documents/others/
m2tb_e.pdf.
High Resolution Audio
[57] Audio Media Richard Elen, “Beyond the pale: High resolution audio,”
October 1999.
[58] J.A. Moorer, “Breaking the sound barrier: Mastering at 96 khz and
beyond,” in 101st Convention of the Audio Engineering Society, November
1996.
[59] Blu-Ray Disc Association, “Bluray: Application definition blu- ray disc
format,” March 2005,
http://www.bluraydisc.com/assets/downloadablefile/bdj_gem_application_definition_
050307-13404.pdf.
[60] Bob Auger Numerique, “HD-DVD: A technical introduction,” 2005, DVD
Forum, http://www.dvdforum.org/images/Forum_HD_DVD_Universal_ 24.pdf.
Listening Test Procedures
[61] The ITU Radiocommunication Assembly, “Recommendation ITU-R
BS.1284-1*General methods for the subjective assessment of sound quality,”
1997 - 2003.
Interaural Cross Correlation
[62] I.M. Lindevald and A.H. Benade, “Two-ear correlation in the statistical
sound fields of rooms,” The Journal of the Acoustical Society of America, pp.
661 – 664, April 1986.
[63] M. Tohyama and A. Suzuki, “Interaural cross-correlation coefficients in
stereo-reproduced sound fields,” Acoustical Society of America Journal, vol.
85, pp. 780–786, Feb. 1989.
[64] D. H. Cooper, “Notions of conventional stereo in “Interaural crosscorrelation coefficients in stereo- reproduced sound fields” [J. Acoust. Soc.
Am. 85, 780-786 (1989)],” Acoustical Society of America Journal, vol. 86, pp.
2452–2454, Dec. 1989.
[65] T. Hidaka, L. L. Beranek, and T. Okano, “Interaural cross-correlation,
lateral fraction, and low- and high-frequency sound levels as measures of
acoustical quality in concert halls,” The Journal of the Acoustical Society of
America, vol. 98, no. 2, pp. 988–1007, 1995.
[66] T. Okano, “Image shift caused by strong lateral reflections, and its
relation to inter-aural cross correlation,” The Journal of the Acoustical Society
of America, vol. 108, no. 5, pp. 2219–2230, 2000.
The Precedence Effect
[67] Ruth Y. Litovsky, H. Steven Colburn, William A. Yost, and Sandra J.
Guzman, “The precedence effect,” The Journal of the Acoustical Society of
America, vol. 106, no. 4, pp. 1633–1654, 1999.
Apparent Source Width
[68] M. Barron and A. H. Marshall, “Spatial impression due to early lateral
reflections in concert halls: The derivation of a physical measure,” Journal of
Sound and Vibration, vol. 77, no. 2, pp. 211–232, 1981.
[69] T. Okano, L. L. Beranek, and T. Hidaka, “Relations among interaural
cross-correlation coefficient (IACC), lateral fraction (LF), and apparent source
width (ASW) in concert halls,” The Journal of the Acoustical Society of
America, vol. 104, no. 1, pp. 255–265, 1998.
DVD-Audio
[70] Sonic Solutions, “Understanding DVD-Audio: A Sonic White Paper,”
http://www.sonic.com/.
Mobile Multimedia
[71] V. Algazi and R. Duda, “Immersive spatial sound for mobile multimedia,”
in Proceedings of the Seventh IEEE International Symposium on Multimedia
(ISM 0 ́5), 2005.
Quadraphonics
[72] J. G. Woodward, “Quadraphony - a review,” Journal of the Audio Engineering Society, vol. 25, no. 10/11, pp. 843–854, 1977.
[73] G. Theile and G. Plenge, “Localization of lateral phantom sources,” Journal of the Audio Engineering Society, vol. 25, no. 4, pp. 196–200, 1977.
VBAP
[74] V. Pulkki, “Virtual sound source positioning using Vector Base Amplitude
Panning,” Journal of the Audio Engineering Society, vol. 45, no. 6, pp. 456–
466, 1997.
[75] V. Pulkki, “Localization of amplitude-panned virtual sources I: Stereophonic panning,” Journal of the Audio Engineering Society, vol. 49, no. 9, pp.
739–751, 2001.
[76] V. Pulkki, “Coloration of amplitude-panned virtual sources,” in 110th
Convention of the Audio Engineering Society, Amsterdam, The Nether- lands,
May 2001, Paper 5402.
[77] V. Pulkki, “Localization of amplitude-panned virtual sources II: Two and
three dimensional panning,” Journal of the Audio Engineering Society, vol. 49,
no. 9, pp. 753–767, 2001.
Wave Field Synthesis
[78] A. J. Berkhout, “A Holographic Approach to Acoustic Control,” Journal of
the Audio Engineering Society, vol. 36, no. 12, pp. 977–995, 1988.
[79] J. Daniel, “Further investigations of High Order Ambisonics and Wavefield
Synthesis for holophonic sound imaging,” in 114th Convention of the Audio
Engineering Society, Amsterdam, The Netherlands, 2003, Paper 5788.
[80] K. Hamasaki and K. Hiyama, “Reproducing spatial impression with multichannel audio,” in 24th International Conference of the Audio Engineering
Society, Banff, Canada, 2003, Paper 19.
Visual Tracking
[81] Gary R. Bradski, “Computer Vision Face Tracking for use in a Perceptual
User Interface,” Intel Technology Journal, vol. Q2, pp. 15, 1998.
[82] Intel, “OpenCV: Open Computer Vision Library,” 2007,
http://sourceforge.net/projects/opencv/.
Digital Consoles
[83] Japan YAMAHA CORPORATION, Hamamatsu, “Yamaha 02r manual,
version 2,” 1997, www.yamaha.com.
Recording Techniques
[84] Audio Engineering Associates, “Decca tree manual,” 2007, http://www.
posthorn.com/Images/Aea/DeccaTreeD2.pdf.
[85] Berlin UDK, “Decca tree recording mit neumann-druckempfngern m50,”
1994, www.sengpielaudio.com/DeccaTreeRecordingM50.pdf, accessed
29-03-10.
[86] Francis Rumsey, “Microphone and mixing techniques for multichannel
surround sound,” Journal of the Audio Engineering Society, vol. 46, no. 4,
April 1998.
[87] G. Theile, “Multichannel Natural Music Recording Based On Psychacoustic Principles,” October 2001, IRT, Extended version of the paper
presented at the 19th International Conference of the Audio Engineering
Society, May 2001.
[88] M. Williams, “Unified theory of microphone systems for stereophonic
sound recording,” in 82nd Convention of the Audio Engineering Society,
London, UK, March 1987, Paper 2466.
[89] K. Hamasaki, “Multichannel sound in television: Technical and aesthetic
approach,” in 3rd International Multichannel Sound Forum, 2000, pp. 26–41.
Surround Sound
[90] ITU, “Rec. ITU-R BS. 775-2: Multichannel stereophonic sound sys- tem
with and without accompanying picture,” Tech. Rep., International
Telecommunications Union, 2006.
[91] The Recording Academy Producers and Engineers Wing, “Recommendations for Surround Sound Reproduction,” October 2004,
http://www.grammy.com/PDFs/Recording_Academy/Producers_And_
Engineers/5_1_Rec.pdf.
[92] Christian Landone and Mark Sandler, “Surround sound impact over large
areas,” in 110th Convention of the Audio Engineering Society, Amster- dam,
The Netherlands, May 2001.
[93] Brad Rakerd, William M. Hartmann, and Timothy L. McCaskey, “Identification and localization of sound sources in the median sagittal plane,” The
Journal of the Acoustical Society of America, vol. 106, no. 5, pp. 2812–2820,
1999.
[94] C. J. MacCabe, C. Pestel, and D. J. Furlong, “Virtual imaging capabilities
of surround sound systems,” in 92nd Convention of the Audio Engineering
Society, Vienna, Austria, October 1992, Paper 3402.
[95] J. Robert Stuart, “The psychoacoustics of multichannel audio,” 11th UK
Conference of the Audio Engineering Society, February 1996, Paper ANM-12.
[96] D.J. Meares, “Perceptual attributes of multichannel sound,” in 12th
International Conference of the Audio Engineering Society, Copenhagen,
Denmark, May 1993, Paper 12-014.
[97] Kyle A. Holbrook, “Multichannel and surround sound reinforcement: Past,
present, and future,” in 6th International Conference of the Au- dio
Engineering Society, Nashville, Tennessee, April 1988.
[98] P. A. Ratliff, “Properties of Hearing Related to Quadraphonic
Reproduction,” BBC Research Department, Report BBC RD 1974/38,
November 1974.
[99] M. A. Gerzon, “Criteria for evaluating surround-sound systems,” Journal
of the Audio Engineering Society, vol. 25, no. 6, pp. 400–408, 1977.
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[100] Dave Malham, “Homogeneous and non-homogeneous surround sound
systems,” in 14th UK Conference of the Audio Engineering Society, 1999,
Paper ASC-04.
[101] C. H. Knapp and G. C. Carter, “The generalized correlation method for
estimation of time delay,” IEE Transactions on Acoustics, Speech and Signal
Processing, vol. 24, no. 1, pp. 320–327, 1976.
[102] K. Hamasaki, S. Komiyama, K. Hiyama, and H. Okubo, “5.1 and 22.2
Multichannel sound productions using an integrated surround sound panning
system,” in 117th Convention of the Audio Engineering Society, San
Francisco, California, USA, 2004, Paper 6226.
Spatial Impulse Response Rendering
[103] V. Pulkki and J Merimaa, “Spatial Impulse Response Rendering II: Reproduction of diffuse sound and listening tests,” Journal of the Audio
Engineering Society, vol. 54, no. 1/2, pp. 3–20, 2006.
Software
[104] Waves Audio Ltd, “Waves 360 surround tools,” September 2002, http:
//www.waves.com.
[105] Cristina Bachmann, Heiko Bischoff, Birgit Grossmann, Sabine Pfeifer,
and Claudia Schomburg, “Cubase 4: Advanced music production system,”
October 2006, Steinberg Media Technologies, GmbH.
[106] H. Wittek, “Image assistant 2.0,” 2007,
http://www.hauptmikrofon.de/ima2.htm.
[107] D. McGriffy, “Visual virtual microphone,” 2002,
http://mcgriffy.com/ audio/ambisonic/vvmic/.
[108] D. Malham and A. Field, “VST ambisonic tools,” 2003, York University
Music Technology Group,
http://www.york.ac.uk/inst/mustech/3d_ audio/vst/welcome.html.
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