Reviews on Technology and Standard of Spatial Audio Coding

Market  demands  on a more impressive entertainment media have motivated for delivery of three dimensional  (3D) audio content to  home consumers  through Ultra  High  Definition  TV  (UHDTV), the next generation of TV broadcasting, where spatial  audio  coding plays  fundamental role. This paper reviews fundamental concept on spatial audio coding which includes technology, standard, and application. Basic principle of object-based audio reproduction system  will also be elaborated, compared  to  the  traditional channel-based system, to provide good understanding on this popular interactive audio reproduction system which gives end users flexibility to render  their  own preferred  audio composition.Keywords : spatial audio, audio coding, multi-channel audio signals, MPEG standard, object-based audi

An audio-visual system for object-based audio : from recording to listening

Object-based audio is an emerging representation for audio content, where content is represented in a reproduction format-agnostic way and, thus, produced once for consumption on many different kinds of devices. This affords new opportunities for immersive, personalized, and interactive listening experiences. This paper introduces an end-to-end object-based spatial audio pipeline, from sound recording to listening. A high-level system architecture is proposed, which includes novel audiovisual interfaces to support object-based capture and listenertracked rendering, and incorporates a proposed component for objectification, that is, recording content directly into an object-based form. Text-based and extensible metadata enable communication between the system components. An open architecture for object rendering is also proposed. The system’s capabilities are evaluated in two parts. First, listener-tracked reproduction of metadata automatically estimated from two moving talkers is evaluated using an objective binaural localization model. Second, object-based scene capture with audio extracted using blind source separation (to remix between two talkers) and beamforming (to remix a recording of a jazz group) is evaluate

Object-based audio reproduction and the audio scene description format

Dieser Beitrag ist mit Zustimmung des Rechteinhabers aufgrund einer (DFG geförderten) Allianz- bzw. Nationallizenz frei zugänglich.This publication is with permission of the rights owner freely accessible due to an Alliance licence and a national licence (funded by the DFG, German Research Foundation) respectively.The introduction of new techniques for audio reproduction such as HRTF-based technology, wave field synthesis and higher-order Ambisonics is accompanied by a paradigm shift from channel-based to object-based transmission and storage of spatial audio. Not only is the separate coding of source signal and source location more efficient considering the number of channels used for reproduction by large loudspeaker arrays, it also opens up new options for a user-controlled interactive sound field design. This article describes the need for a common exchange format for object-based audio scenes, reviews some existing formats with potential to meet some of the requirements and finally introduces a new format called Audio Scene Description Format (ASDF) and presents the SoundScape Renderer, an audio reproduction software which implements a draft version of the ASDF

Object-based audio reproduction and the audio scene description format

Dieser Beitrag ist mit Zustimmung des Rechteinhabers aufgrund einer (DFG geförderten) Allianz- bzw. Nationallizenz frei zugänglich.This publication is with permission of the rights owner freely accessible due to an Alliance licence and a national licence (funded by the DFG, German Research Foundation) respectively.The introduction of new techniques for audio reproduction such as HRTF-based technology, wave field synthesis and higher-order Ambisonics is accompanied by a paradigm shift from channel-based to object-based transmission and storage of spatial audio. Not only is the separate coding of source signal and source location more efficient considering the number of channels used for reproduction by large loudspeaker arrays, it also opens up new options for a user-controlled interactive sound field design. This article describes the need for a common exchange format for object-based audio scenes, reviews some existing formats with potential to meet some of the requirements and finally introduces a new format called Audio Scene Description Format (ASDF) and presents the SoundScape Renderer, an audio reproduction software which implements a draft version of the ASDF

Distributed Sensing and Stimulation Systems Towards Sense of Touch Restoration in Prosthetics

Modern prostheses aim at restoring the functional and aesthetic characteristics of the lost limb. To foster prosthesis embodiment and functionality, it is necessary to restitute both volitional control and sensory feedback. Contemporary feedback interfaces presented in research use few sensors and stimulation units to feedback at most two discrete feedback variables (e.g. grasping force and aperture), whereas the human sense of touch relies on a distributed network of mechanoreceptors providing high-fidelity spatial information. To provide this type of feedback in prosthetics, it is necessary to sense tactile information from artificial skin placed on the prosthesis and transmit tactile feedback above the amputation in order to map the interaction between the prosthesis and the environment. This thesis proposes the integration of distributed sensing systems (e-skin) to acquire tactile sensation, and non-invasive multichannel electrotactile feedback and virtual reality to deliver high-bandwidth information to the user. Its core focus addresses the development and testing of close-loop sensory feedback human-machine interface, based on the latest distributed sensing and stimulation techniques for restoring the sense of touch in prosthetics. To this end, the thesis is comprised of two introductory chapters that describe the state of art in the field, the objectives and the used methodology and contributions; as well as three studies distributed over stimulation system level and sensing system level. The first study presents the development of close-loop compensatory tracking system to evaluate the usability and effectiveness of electrotactile sensory feedback in enabling real-time close-loop control in prosthetics. It examines and compares the subject\u2019s adaptive performance and tolerance to random latencies while performing the dynamic control task (i.e. position control) and simultaneously receiving either visual feedback or electrotactile feedback for communicating the momentary tracking error. Moreover, it reported the minimum time delay needed for an abrupt impairment of users\u2019 performance. The experimental results have shown that electrotactile feedback performance is less prone to changes with longer delays. However, visual feedback drops faster than electrotactile with increased time delays. This is a good indication for the effectiveness of electrotactile feedback in enabling close- loop control in prosthetics, since some delays are inevitable. The second study describes the development of a novel non-invasive compact multichannel interface for electrotactile feedback, containing 24 pads electrode matrix, with fully programmable stimulation unit, that investigates the ability of able-bodied human subjects to localize the electrotactile stimulus delivered through the electrode matrix. Furthermore, it designed a novel dual parameter -modulation (interleaved frequency and intensity) and compared it to conventional stimulation (same frequency for all pads). In addition and for the first time, it compared the electrotactile stimulation to mechanical stimulation. More, it exposes the integration of virtual prosthesis with the developed system in order to achieve better user experience and object manipulation through mapping the acquired real-time collected tactile data and feedback it simultaneously to the user. The experimental results demonstrated that the proposed interleaved coding substantially improved the spatial localization compared to same-frequency stimulation. Furthermore, it showed that same-frequency stimulation was equivalent to mechanical stimulation, whereas the performance with dual-parameter modulation was significantly better. The third study presents the realization of a novel, flexible, screen- printed e-skin based on P(VDF-TrFE) piezoelectric polymers, that would cover the fingertips and the palm of the prosthetic hand (particularly the Michelangelo hand by Ottobock) and an assistive sensorized glove for stroke patients. Moreover, it developed a new validation methodology to examine the sensors behavior while being solicited. The characterization results showed compatibility between the expected (modeled) behavior of the electrical response of each sensor to measured mechanical (normal) force at the skin surface, which in turn proved the combination of both fabrication and assembly processes was successful. This paves the way to define a practical, simplified and reproducible characterization protocol for e-skin patches In conclusion, by adopting innovative methodologies in sensing and stimulation systems, this thesis advances the overall development of close-loop sensory feedback human-machine interface used for restoration of sense of touch in prosthetics. Moreover, this research could lead to high-bandwidth high-fidelity transmission of tactile information for modern dexterous prostheses that could ameliorate the end user experience and facilitate it acceptance in the daily life