Optimization-based reproduction of diffuse audio objects

The creation of a diffuse sound event from a single audio signal is an important signal processing task, for instance in spatial audio reproduction or audio coding. Current algorithms based on decorrelation filters or frequency-dependent panning typically cause artifacts due to transients or time-domain aliasing. In this paper, we propose an optimization-based approach to diffusion that creates a set of filters to approximate a desired distribution of frequency-dependent propagation directions to create the perception of a diffuse sound field with a multi-channel audio system. Thus, the diffusion can be optimally adapted to a specific reproduction scenario. In addition, the transient response can be purposefully improved by imposing constraints on the time-domain filter coefficients

Analysis by synthesis spatial audio coding

This study presents a novel spatial audio coding (SAC) technique, called analysis by synthesis SAC (AbS-SAC), with a capability of minimising signal distortion introduced during the encoding processes. The reverse one-to-two (R-OTT), a module applied in the MPEG Surround to down-mix two channels as a single channel, is first configured as a closed-loop system. This closed-loop module offers a capability to reduce the quantisation errors of the spatial parameters, leading to an improved quality of the synthesised audio signals. Moreover, a sub-optimal AbS optimisation, based on the closed-loop R-OTT module, is proposed. This algorithm addresses a problem of practicality in implementing an optimal AbS optimisation while it is still capable of improving further the quality of the reconstructed audio signals. In terms of algorithm complexity, the proposed sub-optimal algorithm provides scalability. The results of objective and subjective tests are presented. It is shown that significant improvement of the objective performance, when compared to the conventional open-loop approach, is achieved. On the other hand, subjective test show that the proposed technique achieves higher subjective difference grade scores than the tested advanced audio coding multichannel

Parametric spatial audio processing utilising compact microphone arrays

This dissertation focuses on the development of novel parametric spatial audio techniques using compact microphone arrays. Compact arrays are of special interest since they can be adapted to fit in portable devices, opening the possibility of exploiting the potential of immersive spatial audio algorithms in our daily lives. The techniques developed in this thesis consider the use of signal processing algorithms adapted for human listeners, thus exploiting the capabilities and limitations of human spatial hearing. The findings of this research are in the following three areas of spatial audio processing: directional filtering, spatial audio reproduction, and direction of arrival estimation.  In directional filtering, two novel algorithms have been developed based on the cross-pattern coherence (CroPaC). The method essentially exploits the directional response of two different types of beamformers by using their cross-spectrum to estimate a soft masker. The soft masker provides a probability-like parameter that indicates whether there is sound present in specific directions. It is then used as a post-filter to provide further suppression of directionally distributed noise at the output of a beamformer. The performance of these algorithms represent a significant improvement over previous state-of-the-art methods.  In parametric spatial audio reproduction, an algorithm is developed for multi-channel loudspeaker and headphone rendering. Current limitations in spatial audio reproduction are related to high inter-channel coherence between the channels, which is common in signal-independent systems, or time-frequency artefacts in parametric systems. The developed algorithm focuses on solving these limitations by utilising two sets of beamformers. The first set of beamformers, namely analysis beamformers, is used to estimate a set of perceptually-relevant sound-field parameters, such as the separate channel energies, inter-channel time differences and inter-channel coherences of the target-output-setup signals. The directionality of the analysis beamformers is defined so that it follows that of typical loudspeaker panning functions and, for headphone reproduction, that of the head-related transfer functions (HRTFs). The directionality of the second set of high audio quality beamformers is then enhanced with the parametric information derived from the analysis beamformers. Listening tests confirm the perceptual benefit of such type of processing. In direction of arrival (DOA) estimation, histogram analysis of beamforming and active intensity based DOA estimators has been proposed. Numerical simulations and experiments with prototype and commercial microphone arrays show that the accuracy of DOA estimation is improved

Towards the automatic assessment of spatial quality in the reproduced sound environment

The research in this thesis describes the creation and development of a method for the prediction of perceived spatial quality. The QESTRAL (Quality Evaluation of Spatial Transmission and Reproduction using an Artificial Listener) model is an objective evaluation model capable of accurately predicting changes to perceived spatial quality. It uses probe signals and a set of objective metrics to measure changes to low-level spatial attributes. A polynomial weighting function derived from regression analysis is used to predict data from listening tests, which employed spatial audio processes (SAPs) proven to stress those low-level attributes. A listening test method was developed for collecting listener judgements of impairments to spatial quality. This involved the creation of a novel test interface to reduce the biases inherent in other similar audio quality assessment tests. Pilot studies were undertaken which established the suitability of the method. Two large scale listening tests were conducted using 31 Tonmeister students from the Institute of Sound Recording (IoSR), University of Surrey. These tests evaluated 48 different SAPs, typically encountered in consumer sound reproduction equipment, when applied to 6 types of programme material. The tests were conducted at two listening positions to determine how perceived spatial quality was changed. Analysis of the data collected from these listening tests showed that the SAPs created a diverse range of judgements that spanned the range of the spatial quality test scale and that listening position, programme material type and listener each had a statistically significant influence upon perceived spatial quality. These factors were incorporated into a database of 308 responses used to calibrate the model. The model was calibrated using partial least-squares regression using target specifications similar to those of audio quality models created by other researchers. This resulted in five objective metrics being selected for use in the model. A method of post correction using an exponential equation was used to reduce non-linearity in the predicted results, thought to be caused by the inability of some metrics to scrutinise the highest quality SAPs. The resulting model had a correlation (r) of 0.89 and an error (RMSE) of 11.06% and performs similarly to models developed by other researchers. Statistical analysis also indicated that the model would generalise to a larger population of listeners.EThOS - Electronic Theses Online ServiceGBUnited Kingdo

Subjective audio quality trade-offs in consumer multichannel audio-visual delivery systems. Part I: Effects of high frequency limitation

ABSTRACT The subjective effects of controlled high frequency limitation of the audio bandwidth on assessment of audio quality were studied. The investigation was focused on the standard 5.1 multichannel audio set-up (Rec. ITU-R BS.775-1) and limited to the optimum listening position. The effect of video presence on audio quality assessment was also investigated. The results of the formal subjective test indicate that it is possible to limit the high frequency content of the centre or of the rear channels without significant deterioration of the audio quality for some of the investigated programme material types. Video presence has small effect on audio quality assessment