Surround Sound

EN DEL I HELHETEN Tillkomsten av musikforskning som en akademisk disciplin hör ihop med förändringar inom två samhällsområden. Det ena området är musiklivets successiva expansion och professionalisering. Det andra är motsvarande förändring i högre utbildning och forskning. Dessa båda i förening har bidragit till att skapa en grund för musikforskning som akademiskt ämne. Musikforskningens tillkomst och framsteg liknar i det stora hela andra liknande discipliners historia. Men det finns några särdrag. Sambandet med musiklivets utveckling är ett sådant. Det är riktigast att beskriva detta samband som en växelverkan. Musiklivets förändring har gett incitament till förändrad forskning och likaså förändrad högre utbildning. Men också det omvända gäller: musikforskning har på olika sätt påverkat musikutövning, -lyssning och -tänkande. Ett annat särdrag finns i den större musikutbildningssfär som musikvetenskap (som ämnet numera heter) ingår i. Den största utbildningsvolymen inom musikområdet står musikhögskolorna för. De är i dag sex stycken (Stockholm, Göteborg, Malmö, Örebro, Piteå och Ingesund 1 ) och har huvudsakligen utbildningar för blivande musiklärare och blivande musikutövare. Musikhögskolornas historia i Sverige går tillbaka på de utbildningar som Kungl. Musikaliska akademien startade redan vid dess grundande 1771 och som benämndes akademiens undervisningsverk och senare musikkonservatorium, för att 1942 kallas musikhögskola. Till de sex kan läggas Operahögskolan i Stockholm som är en del av nyformerade Stockholms konstnärliga högskola. Fem musikhögskolor har forskarutbildning i musikpedagogik. 2 Vid fyra

This dissertation examines aspects around the 5 .1 surround sound approach to mixing music. Although the use of surround sound systems has become thoroughly pervasive in numerous spheres in modern society, specifically in the context of home theatre systems, the present dissertation focuses mainly on 5 .1 mixing within the context of electronic dance music (EDM). This focus was decided upon because EDM is the field in which the researcher is currently active. After an examination of the physiological and cognitive aspects of the human auditory system, with specific emphasis on sound localisation, as context for discussion of 5.1 surround, an overview is given of currently available documentation providing specifications for the implementation of 5.1 surround. This is then related specifically to questions regarding mixing in the context of 5.1 surround and incorporates a discussion the views of producers currently active in the EDM industry. The ultimate aim of the ahovementioned is to establish the extent, or lack thereof, to which 5 .1 surround is currently being implemented in the field of EDM. In response to this, the implementation of 5.1 in EDM is illustrated through practical application of 5.1 surround mixing in original music produced by the researcher and accompanying the present dissertation.

This dissertation examines aspects around the 5 .1 surround sound approach to mixing music. Although the use of surround sound systems has become thoroughly pervasive in numerous spheres in modern society, specifically in the context of home theatre systems, the present dissertation focuses mainly on 5 .1 mixing within the context of electronic dance music (EDM). This focus was decided upon because EDM is the field in which the researcher is currently active. After an examination of the physiological and cognitive aspects of the human auditory system, with specific emphasis on sound localisation, as context for discussion of 5.1 surround, an overview is given of currently available documentation providing specifications for the implementation of 5.1 surround. This is then related specifically to questions regarding mixing in the context of 5.1 surround and incorporates a discussion the views of producers currently active in the EDM industry. The ultimate aim of the ahovementioned is to establish the extent, or lack thereof, to which 5 .1 surround is currently being implemented in the field of EDM. In response to this, the implementation of 5.1 in EDM is illustrated through practical application of 5.1 surround mixing in original music produced by the researcher and accompanying the present dissertation.

Next Generation Audio (NGA) codecs offer new features for consumers such as advanced user interactivity, immersive sound and optimized reproduction across different classes of playback devices. Yet, 'real world' experience in the application of NGA workflows in classical music production is limited: The realistic depiction of the original concert hall sound and the treatment of elevated sound sources impose challenges when recording and mixing. Besides producing for immersive reproduction systems, sound engineers face new tasks like the integration of user interactivity, ensuring downmix compatibility and loudness consistency. This paper expounds our field test for an NGA production workflow found suitable for complex orchestral music. Using MPEG-H 3D Audio as an example, we recorded three full-length concerts with Gewandhausorchester Leipzig. Among them is the prestigious new year's concert with Beethoven's 9 th symphony conducted by Gewandhauskapellmeister Andris Nelsons. We developed a microphone setup for the immersive recording of classical music in Gewandhaus and achieved convincing results with the recording and mixing strategies presented in this paper. The perceived reverberance in the mixes was found to be realistically relatable to the excellent room sound in the original concert hall. Elevated sources, like the choir and soloists, were clearly depicted as such. For metadata authoring and mastering, MPEG-H production tools were used to regulate loudness, dynamic range and downmix compatibility, targeting playback over loudspeakers and 3D audio soundbars. Additionally, we tested two different approaches for interactivity that are suitable for classical music listeners.

Next Generation Audio (NGA) codecs offer new features for consumers such as advanced user interactivity, immersive sound and optimized reproduction across different classes of playback devices. Yet, 'real world' experience in the application of NGA workflows in classical music production is limited: The realistic depiction of the original concert hall sound and the treatment of elevated sound sources impose challenges when recording and mixing. Besides producing for immersive reproduction systems, sound engineers face new tasks like the integration of user interactivity, ensuring downmix compatibility and loudness consistency. This paper expounds our field test for an NGA production workflow found suitable for complex orchestral music. Using MPEG-H 3D Audio as an example, we recorded three full-length concerts with Gewandhausorchester Leipzig. Among them is the prestigious new year's concert with Beethoven's 9th symphony conducted by Gewandhauskapellmeister Andris Ne...

Sesin hoparlörler aracılığıyla yeniden üretimi, tarihsel süreçte tek bir hoparlör düzeninden çoklu hoparlör düzenine genişletilmiş olsa da; pek çok araştırmacı, sesin boyutsal özelliklerini daha gerçekçi biçimde elde etme inancıyla sayısız deney ve gözlem gerçekleştirmiştir. Bu çalışmalar, kanal tabanlı sistemlerin mekânsal ses üretimindeki kısıtlarını ortaya koymuş ve sesin bir nesne olarak ele alınabileceği-hoparlör veya benzeri ekipmanla sınırlı kalmayacağı-yeni bir anlayışa ilham vermiştir. Mekânsal ses; geleneksel hoparlör-kanal eşlemesinin ötesine geçerek her sesi bağımsız bir nesne olarak tanımlayan ve bu nesneleri üç boyutlu koordinatlarda yeniden üretebilen yenilikçi bir sistemdir. Kanal tabanlı sistemlerde hoparlör, geleneksel olarak bir ses kaynağı işlevi görürken; nesne tabanlı sistemlerde bu rol, dinleyicinin çevresinde ve tanımlı koordinatlarda ses üretimini sağlayan bir araç konumuna evrilmiştir. Bu değişim, sesin yalnızca hoparlörün fizikî konumundan yayıldığı ve dinleyiciye doğrudan, kulak hizasından ulaşması ilkelerini geçersiz kılmıştır. Sinema endüstrisi için tasarlanmış olan ve günümüzde en yaygın örneği Dolby Atmos olan nesne tabanlı mekânsal ses uygulamaları; oyun, müzik prodüksiyonları ve diğer multimedya alanlarında da giderek artan bir alâka görmektedir. Mekânsal seste her ses nesnesi; azimut, yükseklik, mesafe ve yayılım genişliği gibi mekânsal parametrelerle tanımlanır; bu sayede dinleyicide gerçekçi konum algısı ve hareket hissi oluşur. Nesnelerin konum ve hareket bilgileri, meta veriler ile kodlanır. Kod çözücü, bu meta verileri kullanarak hangi hoparlörün ne şekilde oynatma yapacağını belirler ve ses nesnesini hedeflenen koordinatta yeniden üretir. Böylelikle dinleyici, gerçek mekândaki yönsellik, derinlik ve yükseklik unsurlarını koruyan üç boyutlu bir ses algısına erişir.

El capítulo aborda la creación del Archivo Sonoro de San Juan del Río, Querétaro, como iniciativa para preservar el patrimonio cultural inmaterial a través de la memoria acústica de la ciudad. Partiendo del concepto de paisaje sonoro desarrollado por R. Murray Schafer, se resalta la importancia de documentar los sonidos urbanos y naturales que conforman la identidad colectiva y que, con el paso del tiempo, tienden a transformarse o desaparecer.

The relevance of the research topic. The issue of the spatial dimension of an audiovisual work has not lost its relevance since the emergence of sound recording and sound engineering, that is, since the beginning of the XX century. It is the study of the historical development of sound recording of musical texts that has become the basis for the analysis of the spatial sound field of screen works. The development of modern surround sound systems opens up new opportunities for the implementation of the authorial idea for authors of audiovisual works due to the expansion of the visual and expressive capabilities of the spatial sound field, which must be taken into account in modern audiovisual production.
The purpose of the article is to perform a retrospective analysis of spatial sound solutions, starting from the period of the emergence of cinema to the current possibilities of using multi-channel systems in modern screen works, focusing on the role of sound in creating the spatial field of an audiovisual work.
The research methodology is based on a systemic approach, which involves a holistic, comprehensive formation of a picture of the development of spatial sound solutions in screen works. Retrospective analysis of the development of the spatial sound field of a screen work led to the use of a historical approach to highlight the process of development of technical sound solutions in audiovisual art and their awareness of the impact on the audiovisual industry. In addition, the article uses such general scientific methods as synthesis, generalization, explanation.
The results. It is confirmed that the spatial sound field of a screen work is an important visual and expressive means of audiovisual art, the transformations of which are associated with the development of modern technologies and the digitalization of the production of art works. The implementation of sound in cinema not only led to a revolution in editing techniques, but also dramatically changed the visual and expressive means of artists, and enhanced the emotional impact of audiovisual works on viewers.
The scientific novelty of the research is the implementation of a comprehensive retrospective analysis of spatial sound solutions of audiovisual art, which has not previously been carried out in scientific research. It is the retrospective analysis of the formation and development of the spatial sound field in screen works that allows us to understand the general trends of sound solutions in audiovisual art and to highlight the role of sound in the construction of screen images.
The practical significance. The results of the study can be used in teaching courses on the history of cinema, sound engineering and sound design of audiovisual works, as well as in the creative activities of audiovisual production practitioners.
Conclusions. Sound technologies influence the way films are created and perceived no less actively than image technologies. It is the spatial sound field of a screen work in artistic unity with the dramaturgy of the film that provides impressive results in terms of the power of its influence on the audience. Spatial sound systems and technological achievements in this area are quite actively discussed in the information field, a retrospective analysis of the development of the spatial sound field of a screen work allows us to create a holistic picture of its perception as an important visual and expressive means of audiovisual art.

The antique stereophonic recording and playback format is going to be replaced by new surround sound formats in the near future. At the moment, various surround techniques are being investigated in many artistic and technical applications. The main concern is to find an appropriate recording and playback format which supports the natural spatial hearing cues. Therefore, surround sound systems should provide a homogeneous and coherent sound field image, both for recorded and synthesized sound fields . In a homogeneous sound reproduction system, no direction is treated preferentially. Coherent sound field image means that the image remains stable under changes of the listener position, though the image may change as a natural sound field does. The Holophony and Ambisonic system described by Nicol and Emerit is the basic approach. This system will be extended by a new approach to compensate the interfering reflections of the reproduction room. Further possibilities to determine higher order Ambisonic signals using the beam forming approach are investigated.

Negli ultimi decenni la dimensione aurale è stata al centro di numerose sperimentazioni teatrali contemporanee. In questo contributo intendiamo focalizzare la nostra attenzione sull'esperienza auditiva dei partecipanti coinvolti nelle pratiche teatrali che impiegano dispositivi per l'ascolto, generalmente definite col termine di headphone theatre. Questo genere di pratiche è spesso legato a registrazioni binaurali che puntano a un processo di auralizzazione (auralisation) degli spazi e degli eventi che circondano il soggetto partecipante al fine di generare un effetto di immersività. Dopo aver introdotto prima alcuni concetti chiave operativi come, ad esempio, immersione, interattività, presenza, auralità, si analizzeranno gli spettacoli The Encounter (2018) di Simon McBurney/Complicite e Viola's Room (2024) di Punchdrunk. Si illustrerà, soprattutto, come la dimensione aurale sia in grado di ridisegnare lo spazio performativo facendo sì che la percezione estetica si attualizzi attraverso un emplacement. Infine, esamineremo come i dispositivi tecnologici utilizzati in queste esperienze performative possano essere considerati delle vere e proprie protesi che giocano un ruolo fondamentale nella appercezione multimodale della performance. Il dispositivo tecnologico delle cuffie diventa un vero e proprio agente somatico capace di modificare la percezione dello spettatore, aumentando l'esperienza dello spazio secondo un approccio eco-ontologico.

En este escrito se describirán las herramientas utilizadas y los pasos seguidos para la realización de una experiencia de espacialización sonora realizada en la cátedra Taller de Música Electroacústica II que pertenece a la carrera de Composición que se dicta en la Escuela de Música de la Facultad de Humanidades y Artes de la Universidad Nacional de Rosario. Esta propuesta fue concebida en el marco del Proyecto “Creación y proyección sonora de música acusmática multicanal en diferentes escenarios electroacústicos” (Código 80020180100022UR) acreditado en el Programa de incentivos SECYT UNR. Por razones prácticas hemos decidido utilizar la DAW Reaper1; a partir de la misma y mediante el empleo de distintos plugins, se exploraron algunas posibilidades de las técnicas de espacialización VBAP y Ambisonics.
La puesta en práctica, fue concretada en Octubre de 2021 en el Salón de Actos de la Escuela de Música (FHyA-UNR), permitiendo a los participantes comparar en forma sucesiva la escucha de material electroacústico original en dos versiones:
1. La espacialización en un sistema octofónico
2. La codificación Binaural, transmitida por red local y monitoreada desde celulares2. Además de los ejemplos provistos por la cátedra, los materiales sonoros utilizados fueron compuestos por los estudiantes participantes, para quienes esta actividad consistió en su primera experiencia creativa con sonido multicanal.
En concordancia con los objetivos del trabajo, el presente texto fue también concebido como una guía para aquellos que, contando con conocimientos básicos en el empleo de DAWs, quieran introducirse en los problemas de creación, edición y reconocimiento auditivo del tratamiento espacial con estas herramientas.

This paper provides a comparison between the operational results obtained reproducing a three-dimensional sound field by means of traditional 1st order Ambisonics, and employing for the first time the virtual microphone technique 3DVMS. Audio and video were recorded at the same time, employing 32-capsules spherical microphone arrays and a panoramic video capture system of our design. In both cases, a matrix of FIR filters was employed, for deriving the standard 4 B-format components (Ambisonics), or 32 highlydirective virtual microphones pointing at the same directions of the 32 loudspeakers (3DVMS). A pool of test subjects was employed for comparative listening tests, evaluating some standard psychoacoustical parameters. Furthermore, the same tests were repeated with and without the accompanying panoramic video. The tests were performed inside the 3Sixty room in the University of York, an immersive space with allaround video projection and a 32 speakers array. A complete set of IRs has been measured placing a microphone in the center of the room and sending a sine sweep test signal to each of the 32 loudspeakers. These IRs have been employed for equalizing individually each loudspeaker for Ambisonics and 3DVMS playback. In addition to this, we experimented with the capture of a live performance inside the room and with the virtual reconstruction of the complete audio-visual experience.

El relato y la puesta en práctica de la experiencia que aquí presentamos consiste en el trazado de recorridos por calles de la Ciudad Autónoma de Buenos Aires. La selección de cada circuito se caracteriza por su sosiego, un contexto territorial que abre la oportunidad de prestar atención auditiva a estos entornos de bajo impacto de contaminación acústica1 en zonas urbanas (Domínguez, 2011). En este escenario se estarán poniendo en práctica los llamados paseos sonoros - soundwalking (Schafer, 2013; Westerkamp, 1972). Los recorridos a realizar por la ciudad, que de ahora en más llamaremos CASU (Circuitos Aurales de Sosiego Urbano), son replicables en diferentes ciudades. El tema de esta experiencia es parte de un área más amplia, perteneciente al proyecto de investigación y producción denominado Red de Circuitos Aurales (Luna, 2022, 2023) con radicación en la Universidad Nacional Tres de Febrero, Buenos Aires, Argentina.

The passion for experiencing sound with all its aspects has evolved from Surround, Quadraphonic Ambisonic and Dolby Stereo to Quadhome, Stereo Dolby Surround, Dolby Digital and DTS technologies, and then its effect has manifested itself on the music listening practices coupled with sound technologies.
This dissertation studies mix techniques of surround sound applications used in the music productions and headphone technologies that have been advancing recently. This study presents examples of past applications to discuss the path to be pursued by the music productions, aiming at the experience, in the direction of headphone technologies now transforming a number of parameters into a single instrument.
To support the research, the study focuses on the approach of featuring experience; an approach embraced by the experimental “Zaireeka” album released by the Flaming Lips in 1997. Zaireeka features a combination of four compact discs designed to be played simultaneously on four separate sound systems, and was re-recorded with binaural and advanced Sennheiser Ambeo VR 3D microphones, as designed in the album, using the state-of-the-art binaural recording technique. This physical experience was transferred to an immersive sound environment for 3D headphones.
In this study, future sound engineers were asked to listen both 5.1 surround sound system and 3D versions of this production with stereo headphones and they were then asked to review their listening experiences. These studies and evaluations provide an insight suggesting that the 3D immersive sound applications will be a more frequent element of music productions in the future and they will be more popular among the listeners.

To stimulate all five senses through a realistic representation, audio plays a significant role. Architectural representation in digital media primarily falls in the area of visualization. Recent developments in simulation of 3d animation, lighting effect, material options and texture quality demonstrate that technology has come to a satisfactory level for representing realistic environments. But, at the same time, designers may not have paid due attention in regards to simulation of quality audio in architectural representation, particularly in 3D animation. "Surround Sound" or technically, the Dolby Digital and DTS technology has been used for entertainment purposes in film and movie production for a long time. As realistic materials and lighting increases the value of reality, sounds and sound effects too can add value to represented virtual reality architectural environments. Surround Sound technology simply delivers different signals from a 360-degree range. The reason beneath this is to break the sense of looking towards a single direction. Ideally, the audio should come from the direction of the visuals on the scene. Synchronization of both visual and Dolby Digital audio can enhance the experiential quality of an audio-visual representation. At the same time, it can break the notion of audio coming from a single direction. This paper suggests and demonstrates the technique of combining surround sound in digital 3D architectural animation for the purpose of enhancing its visual and sensory quality.

To stimulate all five senses through a realistic representation, audio plays a significant role. Architectural representation in digital media primarily falls in the area of visualization. Recent developments in simulation of 3d animation, lighting effect, material options and texture quality demonstrate that technology has come to a satisfactory level for representing realistic environments. But, at the same time, designers may not have paid due attention in regards to simulation of quality audio in architectural representation, particularly in 3D animation. "Surround Sound" or technically, the Dolby Digital and DTS technology has been used for entertainment purposes in film and movie production for a long time. As realistic materials and lighting increases the value of reality, sounds and sound effects too can add value to represented virtual reality architectural environments. Surround Sound technology simply delivers different signals from a 360-degree range. The reason beneath this is to break the sense of looking towards a single direction. Ideally, the audio should come from the direction of the visuals on the scene. Synchronization of both visual and Dolby Digital audio can enhance the experiential quality of an audio-visual representation. At the same time, it can break the notion of audio coming from a single direction. This paper suggests and demonstrates the technique of combining surround sound in digital 3D architectural animation for the purpose of enhancing its visual and sensory quality.

Creating an interactive project that deals with 3-D sound becomes difficult when it needs to run in multiple venues, due to a diversity of potential loudspeaker arrangements and spatialization systems. For effective exchange, there needs to be a standardized approach to audio spatialization with a unified, but abstract way of representing 3D audio scenes. Formats from the gaming and multimedia communities are appealing, but generally lack the features needed by artists working with interactive new media. Non-standard features need to be supported, including support for multiple listeners, complex sound directivity, integration with networked show control and sound synthesis applications, as well as support for the tuning spatial effects such as Doppler shift, distance attenuation and filtering. Our proposed solution is an open source C++ library called SpatOSC,1 which can be included in existing visualization engines, audio development environments, and plugins for digital audio wor...

While rotating visual and auditory stimuli have long been known to elicit self-motion illusions ("circular vection"), audiovisual interactions have hardly been investigated. Here, two experiments investigated whether visually induced circular vection can be enhanced by concurrently rotating auditory cues that match visual landmarks (e.g., a fountain sound). Participants sat behind a curved projection screen displaying rotating panoramic renderings of a market place. Apart from a no-sound condition, headphone-based auditory stimuli consisted of mono sound, ambient sound, or low-/high-spatial resolution auralizations using generic head-related transfer functions (HRTFs). While merely adding nonrotating (mono or ambient) sound showed no effects, moving sound stimuli facilitated both vection and presence in the virtual environment. This spatialization benefit was maximal for a medium (20 • × 15 •) FOV, reduced for a larger (54 • × 45 •) FOV and unexpectedly absent for the smallest (10 • × 7.5 •) FOV. Increasing auralization spatial fidelity (from low, comparable to five-channel home theatre systems, to high, 5 • resolution) provided no further benefit, suggesting a ceiling effect. In conclusion, both self-motion perception and presence can benefit from adding moving auditory stimuli. This has important implications both for multimodal cue integration theories and the applied challenge of building affordable yet effective motion simulators.

PT: Neste artigo, apresentamos o protótipo de um aplicativo web acessível a deficientes visuais para educação em produção musical e treinamento em percepção sonora, com o qual o usuário pode, por meio de inputs por comandos de voz, mixar a música em execução, ao adicionar e remover instrumentos musicais e efeitos de áudio e alterar o panning. A mixagem é de fundamental importância no processo de gravação musical, mas muitos ouvintes e músicos desconhecem as ferramentas e técnicas utilizadas nessa etapa, não sendo capazes de identificar tais procedimentos, que conferem singularidade e características estéticas especiais a uma gravação, o que motivou o desenvolvimento do app proposto.

EN: In this article, we present the prototype of a web application accessible to the visually impaired for music production education and training in sound perception, with which the user can, through voice commands, mix the music being played, by adding and remove musical instruments and audio effects and change panning. Mixing is of fundamental importance in the musical recording process, but many listeners and musicians are unaware of the tools and techniques used in this stage, not being able to identify such procedures, which give uniqueness and special aesthetic characteristics to a recording, which motivated the development of the proposed app.

The Immersive Computer-controlled Audio Sound Theater (ICAST, pronounced "eye-cast") is an ongoing research project that addresses performance issues in electroacoustic music. By exploring a variety of differing performance modes through a computer-controlled loudspeaker environment that is malleable, adaptable and intuitive, we are able to explore new and novel metaphors for sound control using both conventional and unconventional interfaces. ICAST is a hardware and software solution, based on a client-server computer control system, commodity audio interface hardware, and high-quality audio amplifiers and loudspeakers. Our system has been deployed for concerts and conferences throughout the past year. Through this initial deployment phase, we have identified critical issues with respect to our client/server systems design, our client software control, and our audio server. This paper identifies both the successes and the struggles we have had, and outlines the solutions we have taken to address these issues. What we have learned from this research has applications that go well beyond concert hall performances, and include virtual reality environments, cinema, and video games.

Multi-channel sound diffusion has been an essential part of the electroacoustic music process from the very beginning of the genre. We see early experimentation in sound spatialization in Varèse's use of loudspeaker "paths" in Poémè Electronique, Stockhausen's experiments in quad and cubebased speaker arrangements (Chadabe 1997), and Chowning's computational approach to sound diffusion in works like Turenas (Roads and Strawn 1985). Experimentation in deployment and usage of audio loudspeakers is seen in the loudspeaker orchestras at Bourges (Clozier 2001), GRM and Birmingham (Harrison 1999), Richard Moore's notion of loudspeakers as "windows" to the virtual world beyond (Moore 1989), and the development of standard configurations for multichannel audio in digital video (5.1, 6.1, 7.1, 10.2) (Stampfl and Dobler 2004). And the recent interest in Ambisonic recording technologies (Malham and Myatt 1995) has furthered the aesthetic goal of an immersive audio environments that place the listener in an alternative sonic world-a "virtual world" created by composers and sound artists. The Immersive Computer-controlled Audio Sound Theater (ICAST, pronounced "eye-cast") is a project that addresses the various needs of multiple performance modes through a computer-controlled loudspeaker environment that is malleable, adaptable and intuitive. The system also explores new and novel metaphors for sound control using both conventional and unconventional interfaces. ICAST is a hardware and software solution, based on a client-server computer control system, commodity audio interface hardware, and high-quality audio amplifiers and loudspeakers. What we have learned from this research has applications that go well beyond concert hall performances, and include virtual reality environments, cinema, and video games.

SANTOS, Robert Simão dos. Study of the influence of affordances for learning of resonance in material media by means of Chladni standards. 2018. Total number of sheets. Dissertation (Masters in Teaching Human, Social and Nature Sciences)-Federal Technological University of Paraná. Londrina, 2018 With the advances of technology and for the most part, once thinking about products without proper design, it has brought new challenges for the teacher in teaching and what to offer attractive to students. The challenge of technology that has turned the market, does not give the agent time to understand and know how to use it or even exploit all its potentialities. Rescuing laboratory practice in schools infer in some details, which starts from the lack of continuing education for the teacher, and laboratories with the minimum that the teacher needs to elaborate their experimental scripts. The present research brings in its scope a study of the perception-action, proposed by the Psychologist J. J Gibson (1986), that proposes that the learning of the agent is given by the perception of the affordances. In order to better understand how it can influence perceptual learning, a group of 5th grade students from a peripheral college in the city of Londrina-PR, who had no contact with a physics laboratory, were analyzed to manipulate acoustics equipment. They were divided into four groups, and the control group (CG) had all the support of the researcher to manipulate the equipment as well as the execution of the experiment. And the experimental group (GE) that had no instruction from the researcher on how to use the equipment in the experimental activity, leaving them only an illustrative and vague image of the operation of each equipment. In summary, Gibson (1979/1986) proposes that there are two aspects of information that necessarily compose it simultaneously-"information-about", called invariants, and "information-for", called affordances. (OLIVEIRA; RODRIGUES, 2014, p.11). With the aim of answering how affordances may influence learning, this work sought to elaborate a technical manual of the construction and application of plate resonance experiments, EF F Chladni physical German discovery known as "father" of acoustics by innovative discoveries in the field of acoustics in the late seventeenth and early eighteenth centuries. For the accomplishment of the study we used the research methods, phenomenological bibliographical because it deals with the perception and action of the research subject. According to the nature of the problem the data are analyzed qualitatively..

Direct and ambient sounds are usually reproduced through the same loudspeakers. In multichannel systems, with the use of anechoic recordings and auralization techniques it is possible to separate these sound components so that they are reproduced via different loudspeakers. Four basic options of management of direct and reflected sounds were investigated in a perceptual experiment. One sound source and the standard 5.0 surround sound system was used. It was found that listeners consistently preferred sound reproduction with direct sound radiated from only one loudspeaker.

A method of computationally efficient 3D sound reproduction via headphones is presented using a virtual Ambisonic approach. Previous studies have shown that incorporating head tracking as well as room simulation is important to improve sound source localization capabilities. The simulation of virtual acoustic space requires to filter the stimuli with head related transfer functions (HRTFs). In time-varying systems this yields the problem of high quality interpolation between different HRTFs. The proposed model states that encoding signals into Ambisonic domain results in time-invariant HRTF filters. The proposed system is implemented on a usual notebook using Pure Data (PD), a graphically based open source real time computer music software.

We introduce ViDaS, a two-stream, fully convolutional Video, Depth-Aware Saliency network to address the problem of attention modeling "in-the-wild", via saliency prediction in videos. Contrary to existing visual saliency approaches using only RGB frames as input, our network employs also depth as an additional modality. The network consists of two visual streams, one for the RGB frames, and one for the depth frames. Both streams follow an encoder-decoder approach and are fused to obtain a final saliency map. The network is trained end-to-end and is evaluated in a variety of different databases with eye-tracking data, containing a wide range of video content. Although the publicly available datasets do not contain depth, we estimate it using three different state-of-the-art methods, to enable comparisons and a deeper insight. Our method outperforms in most cases state-of-the-art models and our RGB-only variant, which indicates that depth can be beneficial to accurately estimating saliency in videos displayed on a 2D screen. Depth has been widely used to assist salient object detection problems, where it has been proven to be very beneficial. Our problem though differs significantly from salient object detection, since it is not restricted to specific salient objects, but predicts human attention in a more general aspect. These two problems not only have different objectives, but also different ground truth data and evaluation metrics. To our best knowledge, this is the first competitive deep learning video saliency estimation approach that combines both RGB and Depth features to address the general problem of saliency estimation "in-the-wild". The code will be publicly released.

Despite the recent advantages on multichannel audio coding and playback technologies, 3D audio positioning is frequently required to be performed over legacy stereo loudspeaker setups, due to certain application limitations and restrictions mainly presented in portable and low cost systems. In this work, a 3D audio platform is introduced which allows the real-time conversion of any stereo audio signal to a high-quality immersive audio stream using binaural technology. Due to a number of advanced binaural processing algorithms and features, the proposed conversion platform demonstrates perceptually improved 3D audio spatialization, rendering it suitable for implementing high-quality immersive audio applications.

In today's fast-paced world, where technology is constantly evolving, it's crucial to stay ahead of the curve when it comes to your audio and television setup. Whether you're a casual viewer or a dedicated audiophile, investing in high-quality audio and television equipment can significantly enhance your entertainment experience.

This paper describes an integration of a 3D sound convolution engine into a telephone conference server software. Our system virtually places participants of a telephone conference to different positions around the listeners by using Head Related Transfer Functions (HRTFs), which helps to identify active speakers in an audio conference. Intelligibility of communication is also increased by making use of the cocktail party effect which helps to concentrate on one specific participant, even if there are more simultaneously active speakers. To support regular telephone systems, we focus in particular on compatibility to existing Voice over IP (VoIP) infrastructure by using standardized protocols like the Session Initiation Protocol (SIP) and the Real-Time Transport Protocol (RTP). Both traditional telephone devices and software clients are put into one heterogeneous conference. While the conference server transmits the down-mixed, mono single-channel conference signal to regular phones, the software clients can receive a stereo-signal enabling full 3D audio.

In recent years the aesthetics of fiction films influences more and more the sound of the documentaries. It elevates it to a whole new level but in the same time raises new problems. The most significant of them are these, concerning authenticity of the story in a non-fiction film. The use of the multi-channel surround sound formats in the documentary makes differences between this two genres smaller than ever.

Tvärvetenskaplighet och därmed besläktade termer-multi-, inter-och transdisciplina-ritet-har länge förekommit på forskningsagendan i olika länder. Dessa termer och fenomen omges oftast av en positiv aura, eftersom man utgår ifrån att det är i gräns-125

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This article looks at surround sound in contemporary cinema, with the aim of discussing practices of sound design and, more particularly, pinpointing a 'best practice' of surround sound today-focusing here on the practices in the US. The empirical starting point for the analysis is a study of ten Oscar-nominated movies, analysing their soundtracks and especially comparing their stereo and surround versions. The method can be described as a 'directional' listening mode, analysing how the different channels and speakers are used when presenting sonic elements like voices, music, atmospheres and sound effects.

Sound reproduction systems are limited in their ability to create sound fields over large areas and over wide bandwidths, because the required number of loudspeakers becomes prohibitive. This limits the ability of surround systems to create sound fields large enough to be heard by multiple listeners. This paper considers an alternative approach to the creation of a single sound field for multiple listeners in which reproduction is accurate in a number of small zones of sufficient size for each listener. This results in a significant reduction in loudspeaker requirements compared to the creation of a single zone that encompasses all listeners. The approach is based on conversion of the sound field coefficients of the global field into localized coefficients within each zone and a mode-matching method for simultaneously reproducing the local fields in each zone. The theory is developed for the 2D case, for simplicity, and simulations are presented to demonstrate the effectiveness of the approach. Such a system would require a tracking system to determine the position of each listener, but the tracking requirements would be less stringent than are required for binaural reproduction using a cross talk canceller.

Sound Field Synthesis reproduces a desired sound field within an extended listening area using up to hundreds of loudspeakers. The perceptual evaluation of such methods is challenging, as many degrees of freedom have to be considered. Binaural Synthesis simulating the loudspeakers over headphones is an effective tool for the evaluation. A prior study has investigated, whether non-individual anechoic binaural synthesis is perceptually transparent enough to evaluate human localisation in sound field synthesis. With the used apparatus, an undershoot for lateral sound sources was observed for real loudspeakers and their binaural simulation. This paper reassesses human localisation for the mentioned technique using a slightly modified setup. The results show that the localisation error decreased and no undershoot was observed.

We present a database of binaural room impulse responses (BRIRs) measured in an apartment-like environment. The BRIRs were captured at four different sound source positions, each combined with four listener positions. A head and torso simulator (HATS) with varying head-orientation in the range of ±78 • with 2 • resolution was used. Additionally, BRIRs of 20 listener positions along a trajectory connecting two of the four positions were measured, each with a fixed head-orientation. The data is provided in the Spatially Oriented Format for Acoustics (SOFA) and it is freely available under the Creative Commons (CC-BY-4.0) license. It can be used to simulate complex acoustic scenes in order to study the process of auditory scene analysis for humans and machines.

Resumo-Determinar como o modelo de loudness BS.1770 para a radiodifusão poderia incluir medidas de objetos sonoros com localizações dinâmicas,é uma questão de estudo em andamento no ITU-R. Este trabalho buscou avaliar o efeito da reverberação na sensação de loudness provocada em participantes de um experimento de casamento de loudness entre pares de estímulos sonoros. Das respostas dos participantes, derivou-se uma curva de ajuste de ganho para a filtragem psicoacústica do modelo ITU-R. As predições de ambos os modelos foram então comparadas por suas proximidades em relação aos intervalos de confiança dos ajustes de nível sonoro feitos pelos participantes.

Анотація. Мета статті — дослідити розвиток форматів просторового та імерсивного звуку в кіно, музичній індустрії, стрімінгових сервісах, засоби їхньої естетичної виразності та впливу на глядацьку аудиторію. Результати дослідження. Просторовий звук сьогодні став стандартом
для використання в сучасному кінематографі та в різноманітних стрімінгових сервісах. Він додає аудіовізуальним творам нових творчих засобів вираження, звуковій палітрі фільму — насиченості та яскравості. Імерсивний звук дозволяє повністю занурити глядачів у звуковий простір фільму, підсилити емоційний вплив на них та надати глядачам нових естетичних вражень. Простежено еволюцію аудіотехнологій в кіно та в стрімінгових сервісах. Вказано, що розвиток технологій просторового звуку відбувається в напрямі максимального наближення до природного сприйняття звуку людиною. Наукова новизна статті полягає в тому, що вперше розглянуто процес еволюції
форматів просторового звуку в кінематографі та в стрімінгових сервісах як особливий технологічний та естетичний феномен, який дозволяє глядачам все більше «занурюватися» у звуковий простір
аудіовізуальних творів. Висновки. Розвиток аудіовізуальних технологій — від перших кінострічок до сучасних видовищних блокбастерів — було направлено на досягнення ефекту зникнення естетичного бар’єра між глядачами й віртуальним світом екрана. Для цього не лише збільшували сам розмір екрана, що дозволило максимально охопити поле зору глядачів кінозображенням.
Зміни в звуковому супроводі фільмів також було направлено на розширення аудіопростору, який сприймають глядачі. Спочатку це був плоский монофонічний звуку, який ішов із центра кіноекрана;
потім поступово відбувся перехід до стереофонічного звуку, після якого настала черга сюрраунд-форматів Dolby Digital, DTS, SDDS. «Занурювальний» імерсивний звук форматів Dolby Atmos,
DTS:X, Auro-3D додав можливість розташувати аудіооб’єкти ще й у вертикальній площині, що дозволило кінематографістам створювати максимально реалістичну звукову атмосферу. Музична та
ігрова індустрії, стрімінгові відео- та аудіосервіси також почали впроваджувати просторовий звук, і не лише заради цікавих акустичних ефектів, а й для пошуку нових творчих засобів вираження.
Ключові слова: сюрраунд звук; імерсивний звук; Fantasound; Dolby Digital; Dolby Atmos; DTS; бінауральний звук

In this paper we discuss the motivation, design, and analysis of ambisonic decoders for systems where the vertical order is less than the horizontal order, known as mixedorder Ambisonic systems. This can be due to the use of microphone arrays that emphasize horizontal spatial resolution or speaker arrays that provide sparser coverage vertically. First, we review Ambisonic reproduction criteria, as defined by Gerzon, and summarize recent results on the relative perceptual importance of the various criteria. Then we show that using full-order decoders with mixedorder program material results in poorer performance than with a properly designed mixed-order decoder. We then introduce a new implementation of a decoder optimizer that draws upon techniques from machine learning for quick and robust convergence, discuss the construction of the objective function, and apply it to the problem of designing two-band decoders for mixed-order signal sets and nonuniform loudspeaker layouts. Results of informal listening tests are summarized and future directions discussed.

The article presents the course and the results of an experiment, which aimed at the subjective assessment of the multi-channel impulse responses. The assessment was conducted considering the usefulness of the received responses for the conducting operation of the digital convolution. The resulting sound material is generated for the simulation of the characteristics of the room. In a medium-sized, rectangular reverberation room (74 m 3) a number of measurements of impulse responses were conducted with the use of multi-channel microphone techniques and with the use of SoundField type microphone. In identical conditions the raw sound material was recorded (in conditions of free eld). Next, the convolution was performed between the raw material and the recorded impulse responses. The group of experts, whose members had at least 5 years of experience in the eld of sound engineering, was subjected to the psychoacoustic tests aiming at comparison of the sound materials achieved in the convolution and in the recording.

Today's multimedia use surround sound extensively, and most often in format 5.1. A lot of popular software packages used for sound production, including Pro Tools in LE version, do not have the ability to form mixes in this format. However, thanks to an appropriate configuration of internal audio buses and the cooperation with the multichannel input/output interface, this mode of operation is possible. Unlike other proposals, based only on send channels to individual output channels, the authors present a new configuration that uses the Pro Tools LE software. Thanks to this configuration, placing an apparent source of sound in the surround space becomes more intuitive, as it is accomplished through the use of panning sliders which determine space coordinates. Direct send channels serve exclusively to form the central and low frequency effect channel (LFE). This configuration was applied to make the final mixdown of a multichannel recording of the choir concert with the use of the Optimized Cardioid Triangle (OCT) microphone array.

This paper describes multi-speaker display systems for immersive auditory environments, collaborative projects, realistic acoustic modeling, and live musical performance. Two projects are described. The sound subsystem of the Princeton Display Wall project, and the NBody musical instrument body radiation response project. The Display Wall is an 18' x 8' rear-projection screen, illuminated by 8 high-resolution video projectors. Each projector is driven by a 4-way symmetric-multi-processor PC. The audio subsystem of this project involves 26 loudspeakers and server PCs to drive the speakers in real time from soundfile playback, audio effects applied to incoming audio streams, and parametric sound synthesis. The NBody project involves collecting and using directional impulse responses from a variety of stringed musical instruments. Various signal processing techniques were used to investigate, factor, store, and implement the collected impulse responses. A software workbench was created which allows virtual microphones to be placed around a virtual instrument, and then allows signals to be processed through the resulting derived transfer functions. Multi-speaker display devices and software programs were constructed which allow real-time application of of the filter functions to arbitrary sound sources. This paper also discusses the relation of spherical display systems to conventional systems in terms of spatial audio and sound-field reconstruction, with the conclusion that most conventional techniques can be used for spherical display systems as well.

Two experiments were conducted to investigate perceptual differences between three sound recording and reproduction techniques, namely transaural, ambisonics and stereophony, in terms of spatial quality (Exp.1) and localization (Exp. 2) on a variety of sound material. Results indicate a strong contrast between ambisonics and the other two techniques. Specifically, ambisonics provides a good sense of immersion and envelopment but a poor localization and readability of the scene, while stereophony and transaural provide a precise localization and a good readability but lack immersion and envelopment. These results suggest that a trade-off between immersion and precision may be difficult to achieve using these techniques.

O objetivo deste artigo consiste em examinar o papel do som nas estratégias estilísticas de realizadores contemporâneos, interessados em ampliar o engajamento multissensorial de espectadores através de técnicas imersivas, uma tendência emergente no século XXI. O artigo parte de uma revisão conceitual da ideia de imersão no cinema, discute o potencial inato do dispositivo cinematográfico para a imersão, e analisa cenas de filmes dos últimos 50 anos, descrevendo e discutindo algumas das principais ferramentas estilísticas utilizadas por sound designers para construir ou reforçar o senso de imersão sensorial através do som.

Paper presented at NEM Summit 2017. In this publication we present two innovative software tools for editing and rendering immersive audio that allow taking the post-production process outside professional studios. The Binaural Home Studio allows to post-produce either 3D or binaural audio while offering special 3D effect functionalities. The contents produced can be listened and therefore tested with head-tracking headphones throughout the Binaural Player. The binaural output produced by the player is interactive, in the sense that adapts to head movements using a head-tracking headphone which gives to both content creators and end-users more realism and sense of presence.

Creating an interactive project that deals with 3-D sound becomes difficult when it needs to run in multiple venues, due to a diversity of potential loudspeaker arrangements and spatialization systems. For effective exchange, there needs to be a standardized approach to audio spatialization with a unified, but abstract way of representing 3-D audio scenes. Formats from the gaming and multimedia communities are appealing, but generally lack the features needed by artists working with interactive new media. Non-standard features need to be supported, including support for multiple listeners, complex sound directivity, integration with networked show control and sound synthesis applications, as well as support for the tuning spatial effects such as Doppler shift, distance attenuation and filtering. Our proposed solution is an open source C++ library called SpatOSC, 1 which can be included in existing visualization engines, audio development environments, and plugins for digital audio workstations. Instead of expecting that everyone adopt a new spatial audio format, our library provides an immediate solution, with "translators" that handle conversion between representations. A number of translators are already supported, with an extensible architecture that allows others to be developed as needed.