Help I'm surrounded

A dimly lit auditorium, the smell of popcorn and hot-dogs accompanied by the sound of fizzy drinks slurped through straws; the lights dim and a hush of expectation descends, sound fades in from all around, drawing the audience into the illusion of another reality. This is the world of the cinema, but is it possible to recreate this cinematic surround sound experience in the home? In order to address this question it is necessary to understand what is meant by "cinematic" surround sound and to consider some of the challenges faced by those seeking to translate it to the home environment. This article examines these issues through an exploration of the development of surround sound in the cinema and its transference to the home and concludes with a tentative look towards possible future developments

The listening room, Camden Arts Centre

This version of The Listening Room is minimal, one microphone and two loudspeakers in the Reading Room of Camden Arts Centre, a relatively small space for this work. The Reading Room is the former entrance to the building, this entrance has been bricked over to create three highly reflective wall surfaces in the room. The room resonance is so pronounced that my usual placement of microphone and speakers would tend to fix on one pitch and stay there - to introduce more of the available frequencies from the space I left the Reading Room table in the space to allow an additional reflective element and used an asymmetric placement of loudspeakers, one at the side and one under the table

A new digital audio system design to cope with High Audio Scene (HAS) encoding technology for all round applications

A brand new audio signal processing technology namely 'High Audio Scene (HAS)' has been developed to compensate the inadequacies of Dolby Digital formats that widely used in daily life audio processing systems. The challenging of using Dolby systems is the expected acoustic conditions including building environment and audio configuration facilities should be satisfied. The coded multiple channels signal from HAS encoders are from ordinary stereo sources without the expensive set up in source recording. The quality of the regenerated sound is compatible to Dolby Surround EX and less acoustically controlled environment is needed. The audio systems configured either in 2.1-, 3.2- or 5.2-channel HAS format can generate a VAST and STRONG VOCAL audio effect similar to the hearing in a natural environment. However, less preserved power is need because of using interference characteristics can intensify the sound sources to many times. The technology is expected to be widely applied for different environment including classrooms, dwells, corridors, auditoriums, cinemas, and concert halls without much building re-revolution work. © 2012 IEEE.published_or_final_versio

Virtual Audio - Three-Dimensional Audio in Virtual Environments

Three-dimensional interactive audio has a variety ofpotential uses in human-machine interfaces. After lagging seriously behind the visual components, the importance of sound is now becoming increas-ingly accepted. This paper mainly discusses background and techniques to implement three-dimensional audio in computer interfaces. A case study of a system for three-dimensional audio, implemented by the author, is described in great detail. The audio system was moreover integrated with a virtual reality system and conclusions on user tests and use of the audio system is presented along with proposals for future work at the end of the paper. The thesis begins with a definition of three-dimensional audio and a survey on the human auditory system to give the reader the needed knowledge of what three-dimensional audio is and how human auditory perception works

Automatic removal of music tracks from tv programmes

This work pertains to in the research area of sound source separation. It deals with the problem of automatically removing musical segments from TV programmes. The dissertation proposes the utilisation of a pre-existant music recording, easily obtainable from o cially published CDs related to the audiovisual piece, as a reference for the undesired signal. The method is able to automatically detect small segments of the speci c musictrack spread among the whole audio signal of the programme, even if they appear with time-variable gain, or after having su ered linear distortions, such as being processed by equalization lters, or non-linear distortions, such as dynamic range compression. The project developed a quick-search algorithm using audio ngerprint techniques and hash-token data types to lower the algorithm complexity. The work also proposes the utilisation of a Wiener ltering technique to estimate potential equalization lter coe cients and uses a template matching algorithm to estimate time-variable gains to properly scale the musical segments to the correct amplitude they appear in the mixture. The key components of the separation system are presented, and a detailed description of all the algorithms involved is reported. Simulations with arti cial and real TV programme soundtracks are analysed and considerations about new future works are made. Furthermore, given the unique nature of this project, it is possible to say the dissertation is pioneer in the subject, becoming an ideal source of reference for other researchers that want to work in the area.Este trabalho está inserido na área de pesquisa de separação de fontes sonoras. Ele trata do problema de remover automaticamente segmentos de música de programas de TV. A tese propõe a utilização de uma gravação musical pré-existente, facilmente obtida em CDs oficialmente publicados relacionados à obra audiovisual, como referência para o sinal não desejado. O método é capaz de detectar automaticamente pequenos segmentos de uma trilha musical específica espalhados pelo sinal de áudio do programa, mesmo que eles apareçam com um ganho variante no tempo, ou tenham sofrido distorções lineares, como processamento por filtros equalizadores, ou distorções não lineares, como compressão de sua faixa dinâmica. O projeto desenvolveu um algoritmo de busca rápida usando técnicas de impressão digital de áudio e dados do tipo hash-token para diminuir a complexidade. O trabalho também propõe a utilização da técnica de filtragem de Wiener para estimar os coe cientes de um potencial filtro de equalização, e usa um algoritmo de template matching para estimar ganhos variantes no tempo para escalar corretamente os excertos musicais até a amplitude correta com que eles aparecem na mistura. Os componentes-chaves para o sistema de separação são apresentados, e uma descrição detalhada de todos os algoritmos envolvidos é reportada. Simulações com trilhas sonoras artificiais e de programas de TV reais são analisadas e considerações sobre novos trabalhos futuros são feitas. Além disso, dada a natureza única do projeto, é possível dizer que a dissertação é pioneira no assunto, tornando-se uma fonte de referência para outros pesquisadores que queiram trabalhar na área