A comparison between multi-channel audio equalization filters using warping

Bharitkar, Sunil; Kyriakakis, Chris

doi:10.1109/aspaa.2003.1285820

Cited by 7 publications

(8 citation statements)

References 6 publications

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“…A fuzzy c-means clustering method is applied in [30,[70][71][72]121,139,140]. In the approach of [121,139], "representative prototypical room responses" are derived from several measured room responses that share similar characteristics using the fuzzy c-means unsupervised learning method.…”

Section: Clustering Methodsmentioning

confidence: 99%

“…The equalizer is then computed from the inverse of the general point response using LPC analysis, "obtaining a significant improvement in equalization performance over the spatial averaging methods" with the suppression of the peaks in the room magnitude spectra [139]. The method was further improved in [70,71,140] by applying the fuzzy c-means clustering to warped impulse responses, thus taking advantage of the perceptual properties of the ear. The approach was also combined with multirate filtering in [72] to allow effective filtering of the low frequency response at low sampling rates with computational savings.…”

Section: Clustering Methodsmentioning

confidence: 99%

“…The all-pole model can be obtained by different techniques, including the efficient Levison-Durbin algorithm [62]. LPC analysis has been one of the most successful approaches for minimum-phase equalization, and has been successfully used by many researchers [61,[63][64][65][66][67][68][69][70][71][72][73][74][75]. An all-pole filter can adequately model the spectral peaks of the room response, while it provides a less accurate model of the notches.…”

Section: Lpc Analysismentioning

confidence: 99%

“…A psychoacoustically-motivated frequency scale-in most cases the Bark scale-is used. For example, in the approach of [70,71], a prototype room response is first frequency warped to an approximate Bark scale. Then, an all-pole model of the room response is obtained in the warped domain using LPC analysis.…”

Section: Frequency Warpingmentioning

confidence: 99%

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Room Response Equalization—A Review

2017

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Room response equalization aims at improving the sound reproduction in rooms by applying advanced digital signal processing techniques to design an equalizer on the basis of one or more measurements of the room response. This topic has been intensively studied in the last 40 years, resulting in a number of effective techniques facing different aspects of the problem. This review paper aims at giving an overview of the existing methods following their historical evolution, and discussing pros and cons of each approach with relation to the room characteristics, as well as instrumental and perceptual measures. The review is concluded by a discussion on emerging topics and new trends. This paper aims to provide an up-to-date review on RRE, discussing the pros and the cons of each technique, following the historical evolution. It is worth underlining that the RRE problem is analyzed from the viewpoint of impulse response analysis. All approaches that are not directly based on RIR analysis (e.g., parametric or graphic equalizers) are not discussed. The reader is referred to [11] for a comprehensive review on this topic. Another research field related to RRE which is not addressed in this paper is sound spatialization. The reader is referred to [12] for a recent review.This review article is organized as follows: Section 2 describes the characteristics of room impulse responses and its perception by the human auditory system. Section 3 introduces the basic concept of RRE, explaining the main challenges in inverting room responses. Section 4 describes the approaches used for equalizer design following their historical evolution. Section 5 discusses pre-processing techniques used to cope for RIR variations by exploiting human perception. Section 6 covers the evolution from single-point to multi-point equalization using multiple microphones placed within the room. Section 7 reports adaptive approaches for RRE in the framework of single-point and multi-point equalization. Section 8 introduces innovative approaches following a wave-theoretical view on the problem. Section 9 describes instrumental and perceptual measures used for state-of-the-art evaluation of RRE approaches. Section 10 reports emerging methods and new trends in the field. Finally, Section 11 concludes this review. The Room Response and Its PerceptionThe characteristics of the room response in the time and frequency domain are related to the acoustic properties of the environment that influence human perception. Due to this aspect, it is sensible to shape the impulse response analysis in order to handle important issues that should be considered in the RRE procedure to reach a sound listening improvement. This includes knowledge on human perception and psychoacoustics to be exploited explicitly in the equalization procedure. Appl. Sci. 2018, 8, 16 4 of 47An impulse response, obtained from a sound source in a specific position of a real environment, can be divided into three parts [13]: (i) direct sound; (ii) early reflections, and (iii) late reflections, as r...

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Section: Clustering Methodsmentioning

confidence: 99%

Section: Clustering Methodsmentioning

confidence: 99%

Section: Lpc Analysismentioning

confidence: 99%

Section: Frequency Warpingmentioning

confidence: 99%

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Room Response Equalization—A Review

2017

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“…An objective function that is particularly useful for characterizing the magnitude response is the spectral deviation measure [5], [6]. Given that the effects of the choice of the crossover frequency are bandlimited around the crossover frequency, it will be shown that this measure is quite effective in predicting the behavior of the resulting magnitude response around the crossover.…”

Section: Objective Function Based Crossover Frequency Selectionmentioning

confidence: 99%

Automatic Crossover Frequency Selection for Multichannel Home-Theater Applications

Bharitkar

Kyriakakis

2005 IEEE International Conference on Multimedia and Expo

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Given a multichannel loudspeaker system, the selection of the crossover frequency between the sub-woofer and the satellite speakers is important for accurate (i.e., distortionfree), reproduction of playback sound. Presently, many hometheater systems have selectable crossover frequencies which are either set by the consumer through listening tests. Alternatively, if the loudspeakers are industry certified, the crossover frequency is set at 80 Hz. A desirable feature is that, besides distortion-free sound output from the individual subwoofer and the satellite speakers, the combined sub-woofer and satellite room acoustical response should exhibit negligible variations around the selected crossover frequency. In this paper, we present an automatic crossover frequency selection algorithm based on an objective measure (viz., the spectral deviation measure) for multichannel home-theater applications that allows better control of the combined subwoofer-satellite response, thereby significantly improving audio quality.

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Sonic Interactions in Virtual Environments: The Egocentric Audio Perspective of the Digital Twin

Geronazzo

Serafin

2022

Human–Computer Interaction Series

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The relationships between the listener, physical world, and virtual environment (VE) should not only inspire the design of natural multimodal interfaces but should be discovered to make sense of the mediating action of VR technologies. This chapter aims to transform an archipelago of studies related to sonic interactions in virtual environments (SIVE) into a research field equipped with a first theoretical framework with an inclusive vision of the challenges to come: the egocentric perspective of the auditory digital twin. In a VE with immersive audio technologies implemented, the role of VR simulations must be enacted by a participatory exploration of sense-making in a network of human and non-human agents, called actors. The guardian of such locus of agency is the auditory digital twin that fosters intra-actions between humans and technology, dynamically and fluidly redefining all those configurations that are crucial for an immersive and coherent experience. The idea of entanglement theory is here mainly declined in an egocentric spatial perspective related to emerging knowledge of the listener’s perceptual capabilities. This is an actively transformative relation with the digital twin potentials to create movement, transparency, and provocative activities in VEs. The chapter contains an original theoretical perspective complemented by several bibliographical references and links to the other book chapters that have contributed significantly to the proposal presented here.

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A comparison between multi-channel audio equalization filters using warping

Cited by 7 publications

References 6 publications

Room Response Equalization—A Review

Room Response Equalization—A Review

Automatic Crossover Frequency Selection for Multichannel Home-Theater Applications

Sonic Interactions in Virtual Environments: The Egocentric Audio Perspective of the Digital Twin

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