Uniform spreading of amplitude panned virtual sources

Pulkki, Ville

doi:10.1109/aspaa.1999.810881

Cited by 39 publications

(44 citation statements)

References 2 publications

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“…is added with the same gain. These additional conditions aim at extending the applicability of the relationships obtained to arbitrary amplitude panning methods that use more than two loudspeakers, such as multiple-direction amplitude panning (Pulkki, 1999) or Ambisonics (Daniel, 2001). Note that condition C60 has not been tested due to an error in the playback software.…”

Section: Methodsmentioning

confidence: 99%

“…It is known that phantom sources differ from real sources with respect to the perceived source width. Different terms have been used to describe this difference: image focus (Martin et al, 1999), locatedness (Simon et al, 2009), or spatial spread (Pulkki, 1999).…”

Section: Introductionmentioning

confidence: 99%

“…The simplest method to create a phantom source with two loudspeakers is stereophony (Blumlein, 1958) which uses level and/or time-delay differences between the loudspeakers to control the location of the phantom source. Other methods, such as multiple-direction amplitude panning (Pulkki, 1999) or Ambisonics (Daniel, 2001), use more than two loudspeakers for the creation of a single phantom source. It is known that phantom sources differ from real sources with respect to the perceived source width.…”

Section: Introductionmentioning

confidence: 99%

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Source Width of Frontal Phantom Sources: Perception, Measurement, and Modeling

Frank

2013

Archives of Acoustics

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Phantom sources are known to be perceived similar to real sound sources but with some differences. One of the differences is an increase of the perceived source width. This article discusses the perception, measurement, and modeling of source width for frontal phantom sources with different symmetrical arrangements of up to three active loudspeakers. The perceived source width is evaluated on the basis of a listening test. The test results are compared to technical measures that are applied in room acoustics: the inter-aural cross correlation coefficient (IACC) and the lateral energy fraction (LF). Adaptation of the latter measure makes it possible to predict the results by considering simultaneous sound incidence. Finally, a simple model is presented for the prediction of the perceived source width that does not require acoustic measurements as it is solely based on the loudspeaker directions and gains.

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Section: Methodsmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

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Source Width of Frontal Phantom Sources: Perception, Measurement, and Modeling

Frank

2013

Archives of Acoustics

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“…For surround reproduction via multiple loudspeakers, techniques, such as Ambisonics [55,56] or amplitude panning (e.g., Vector Base Amplitude Panning (VBAP) [57] or Multiple-Direction Amplitude Panning (MDAP) [58]), are possible candidates. For binaural reproduction over headphones, generally, head-related transfer functions (HRTF) should be applied.…”

Section: Reproduction Renderingmentioning

confidence: 99%

Auralization of Accelerating Passenger Cars Using Spectral Modeling Synthesis

2015

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While the technique of auralization has been in use for quite some time in architectural acoustics, the application to environmental noise has been discovered only recently. With road traffic noise being the dominant noise source in most countries, particular interest lies in the synthesis of realistic pass-by sounds. This article describes an auralizator for pass-bys of accelerating passenger cars. The key element is a synthesizer that simulates the acoustical emission of different vehicles, driving on different surfaces, under different operating conditions. Audio signals for the emitted tire noise, as well as the propulsion noise are generated using spectral modeling synthesis, which gives complete control of the signal characteristics. The sound of propulsion is synthesized as a function of instantaneous engine speed, engine load and emission angle, whereas the sound of tires is created in dependence of vehicle speed and emission angle. The sound propagation is simulated by applying a series of time-variant digital filters. To obtain the corresponding steering parameters of the synthesizer, controlled experiments were carried out. The tire noise parameters were determined from coast-by measurements of passenger cars with idling engines. To obtain the propulsion noise parameters, measurements at different engine speeds, engine loads and emission angles were performed using a chassis dynamometer. The article shows how, from the measured data, the synthesizer parameters are calculated using audio signal processing.

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“…all speakers contributing equally) at its centre. For classes implementing VBAP, for example this is accomplished through implicit control of the 'spread' parameter (Pulkki 1999); in the case of Ambisonics, via controlled decrease of gain coefficients for higherorder components (as described in Schacher and Kocher 2006). This behaviour is optional and can be tweaked or bypassed.…”

Section: Within the Loudspeaker Arraymentioning

confidence: 99%

Spatial Sound Synthesis in Computer-Aided Composition

Schumacher¹,

Bresson²

2010

Org. Sound

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In this article we describe our ongoing research and development efforts towards integrating the control of sound spatialisation in computer-aided composition. Most commonly, the process of sound spatialisation is separated from the world of symbolic computation. We propose a model in which spatial sound rendering is regarded as a subset of sound synthesis, and spatial parameters are treated as abstract musical materials within a global compositional framework. The library OMPrisma is presented, which implements a generic system for the control of spatial sound synthesis in the computer-aided composition environment OpenMusic.

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Uniform spreading of amplitude panned virtual sources

Cited by 39 publications

References 2 publications

Source Width of Frontal Phantom Sources: Perception, Measurement, and Modeling

Source Width of Frontal Phantom Sources: Perception, Measurement, and Modeling

Auralization of Accelerating Passenger Cars Using Spectral Modeling Synthesis

Spatial Sound Synthesis in Computer-Aided Composition

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