Optimization and improvements in spatial sound reproduction systems through perceptual considerations

[ES] La reproducción de las propiedades espaciales del sonido es una cuestión cada vez más importante en muchas aplicaciones inmersivas emergentes. Ya sea en la reproducción de contenido audiovisual en entornos domésticos o en cines, en sistemas de videoconferencia inmersiva o en sistemas de realidad virtual o aumentada, el sonido espacial es crucial para una sensación de inmersión realista. La audición, más allá de la física del sonido, es un fenómeno perceptual influenciado por procesos cognitivos. El objetivo de esta tesis es contribuir con nuevos métodos y conocimiento a la optimización y simplificación de los sistemas de sonido espacial, desde un enfoque perceptual de la experiencia auditiva. Este trabajo trata en una primera parte algunos aspectos particulares relacionados con la reproducción espacial binaural del sonido, como son la escucha con auriculares y la personalización de la Función de Transferencia Relacionada con la Cabeza (Head Related Transfer Function - HRTF). Se ha realizado un estudio sobre la influencia de los auriculares en la percepción de la impresión espacial y la calidad, con especial atención a los efectos de la ecualización y la consiguiente distorsión no lineal. Con respecto a la individualización de la HRTF se presenta una implementación completa de un sistema de medida de HRTF y se introduce un nuevo método para la medida de HRTF en salas no anecoicas. Además, se han realizado dos experimentos diferentes y complementarios que han dado como resultado dos herramientas que pueden ser utilizadas en procesos de individualización de la HRTF, un modelo paramétrico del módulo de la HRTF y un ajuste por escalado de la Diferencia de Tiempo Interaural (Interaural Time Difference - ITD). En una segunda parte sobre reproducción con altavoces, se han evaluado distintas técnicas como la Síntesis de Campo de Ondas (Wave-Field Synthesis - WFS) o la panoramización por amplitud. Con experimentos perceptuales se han estudiado la capacidad de estos sistemas para producir sensación de distancia y la agudeza espacial con la que podemos percibir las fuentes sonoras si se dividen espectralmente y se reproducen en diferentes posiciones. Las aportaciones de esta investigación pretenden hacer más accesibles estas tecnologías al público en general, dada la demanda de experiencias y dispositivos audiovisuales que proporcionen mayor inmersión.[CA] La reproducció de les propietats espacials del so és una qüestió cada vegada més important en moltes aplicacions immersives emergents. Ja siga en la reproducció de contingut audiovisual en entorns domèstics o en cines, en sistemes de videoconferència immersius o en sistemes de realitat virtual o augmentada, el so espacial és crucial per a una sensació d'immersió realista. L'audició, més enllà de la física del so, és un fenomen perceptual influenciat per processos cognitius. L'objectiu d'aquesta tesi és contribuir a l'optimització i simplificació dels sistemes de so espacial amb nous mètodes i coneixement, des d'un criteri perceptual de l'experiència auditiva. Aquest treball tracta, en una primera part, alguns aspectes particulars relacionats amb la reproducció espacial binaural del so, com són l'audició amb auriculars i la personalització de la Funció de Transferència Relacionada amb el Cap (Head Related Transfer Function - HRTF). S'ha realitzat un estudi relacionat amb la influència dels auriculars en la percepció de la impressió espacial i la qualitat, dedicant especial atenció als efectes de l'equalització i la consegüent distorsió no lineal. Respecte a la individualització de la HRTF, es presenta una implementació completa d'un sistema de mesura de HRTF i s'inclou un nou mètode per a la mesura de HRTF en sales no anecoiques. A mès, s'han realitzat dos experiments diferents i complementaris que han donat com a resultat dues eines que poden ser utilitzades en processos d'individualització de la HRTF, un model paramètric del mòdul de la HRTF i un ajustament per escala de la Diferencià del Temps Interaural (Interaural Time Difference - ITD). En una segona part relacionada amb la reproducció amb altaveus, s'han avaluat distintes tècniques com la Síntesi de Camp d'Ones (Wave-Field Synthesis - WFS) o la panoramització per amplitud. Amb experiments perceptuals, s'ha estudiat la capacitat d'aquests sistemes per a produir una sensació de distància i l'agudesa espacial amb que podem percebre les fonts sonores, si es divideixen espectralment i es reprodueixen en diferents posicions. Les aportacions d'aquesta investigació volen fer més accessibles aquestes tecnologies al públic en general, degut a la demanda d'experiències i dispositius audiovisuals que proporcionen major immersió.[EN] The reproduction of the spatial properties of sound is an increasingly important concern in many emerging immersive applications. Whether it is the reproduction of audiovisual content in home environments or in cinemas, immersive video conferencing systems or virtual or augmented reality systems, spatial sound is crucial for a realistic sense of immersion. Hearing, beyond the physics of sound, is a perceptual phenomenon influenced by cognitive processes. The objective of this thesis is to contribute with new methods and knowledge to the optimization and simplification of spatial sound systems, from a perceptual approach to the hearing experience. This dissertation deals in a first part with some particular aspects related to the binaural spatial reproduction of sound, such as listening with headphones and the customization of the Head Related Transfer Function (HRTF). A study has been carried out on the influence of headphones on the perception of spatial impression and quality, with particular attention to the effects of equalization and subsequent non-linear distortion. With regard to the individualization of the HRTF a complete implementation of a HRTF measurement system is presented, and a new method for the measurement of HRTF in non-anechoic conditions is introduced. In addition, two different and complementary experiments have been carried out resulting in two tools that can be used in HRTF individualization processes, a parametric model of the HRTF magnitude and an Interaural Time Difference (ITD) scaling adjustment. In a second part concerning loudspeaker reproduction, different techniques such as Wave-Field Synthesis (WFS) or amplitude panning have been evaluated. With perceptual experiments it has been studied the capacity of these systems to produce a sensation of distance, and the spatial acuity with which we can perceive the sound sources if they are spectrally split and reproduced in different positions. The contributions of this research are intended to make these technologies more accessible to the general public, given the demand for audiovisual experiences and devices with increasing immersion.Gutiérrez Parera, P. (2020). Optimization and improvements in spatial sound reproduction systems through perceptual considerations [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/142696TESI

Proceedings of the EAA Spatial Audio Signal Processing symposium: SASP 2019

International audienc

Spatial Acoustic Vector Based Sound Field Reproduction

Spatial sound field reproduction aims to recreate an immersive sound field over a spatial region. The existing sound pressure based approaches to spatial sound field reproduction focus on the accurate approximation of original sound pressure over space, which ignores the perceptual accuracy of the reproduced sound field. The acoustic vectors of particle velocity and sound intensity appear to be closely linked with human perception of sound localization in literature. Therefore, in this thesis, we explore the spatial distributions of the acoustic vectors, and seek to develop algorithms to perceptually reproduce the original sound field over a continuous spatial region based on the vectors. A theory of spatial acoustic vectors is first developed, where the spatial distributions of particle velocity and sound intensity are derived from sound pressure. To extract the desired sound pressure from a mixed sound field environment, a 3D sound field separation technique is also formulated. Based on this theory, a series of reproduction techniques are proposed to improve the perceptual performance. The outcomes resulting from this theory are: (i) derivation of a particle velocity assisted 3D sound field reproduction technique which allows for non-uniform loudspeaker geometry with a limited number of loudspeakers, (ii) design of particle velocity based mixed-source sound field translation technique for binaural reproduction that can provide sound field translation with good perceptual experience over a large space, (iii) derivation of an intensity matching technique that can reproduce the desired sound field in a spherical region by controlling the sound intensity on the surface of the region, and (iv) two intensity based multizone sound field reproduction algorithms that can reproduce the desired sound field over multiple spatial zones. Finally, these techniques are evaluated by comparing to the conventional approaches through numerical simulations and real-world experiments

Towards soundscape fingerprinting: development, analysis and assessment of underlying acoustic dimensions to describe acoustic environments

Soundscape according to the definition in ISO 12913-1 describes an acoustic environment as perceived by humans in context. In order to be able to assess a soundscape holistically, the components acoustic environment, person and context should be described sufficiently to enable triangulation. Person-based soundscape assessment has been the subject of extensive research over the past decades to date, leading to a good understanding of the main emotional dimensions. On the acoustic side, e.g., in modeling emotional responses by acoustic features, parameters describing loudness are widely used, also from the point of view of legal regulations. These parameters are often complemented by established psychoacoustic measures. However, it is unknown to what extent these parameters are suitable to adequately describe and compare acoustic environments for hypotheses concerning humans. The presented dissertation aims to contribute to this field by means of an exploratory, empirical, and data-based approach. First, the general requirements of the aim – the description of acoustic environments – are defined and accompanied with concepts and findings from current research areas. Subsequently a methodology is developed that allows for the identification of underlying acoustic dimensions on the basis of empirical observational data of real world acoustic environments by means of multivariate statistical methods. It contains considerations on the physical sound field, the human auditory system, as well as appropriate signal processing techniques. The methodology is then applied to an exemplary extensive dataset of various Ambisonics soundscape recordings. The resulting expressions of the acoustic dimensions are evaluated and discussed with respect to plausibility and perceptual consistency. Finally, two application examples are presented to further validate the methodology and to test the applicability of acoustic dimensions in concrete research scenarios. It was found that the presented methodology is suitable to identify dimensions for the description of acoustic environments. Furthermore, the dimensions found form a suitable basis for further soundscape analyses.Soundscape (nach ISO 12913-1) beschreibt eine akustische Umgebung, wie sie von Menschen im Kontext wahrgenommen wird. Eine ganzheitliche Beurteilung einer Soundscape wird demnach durch Triangulation der Aspekte akustische Umgebung, Person und Kontext hergestellt. Die personenbezogene Bewertung von Soundscapes war und ist bis heute Gegenstand umfangreicher Forschungsarbeiten, die zu einem weitreichendem Verständnis der wichtigsten emotionalen Dimensionen geführt haben. Auf der akustischen Seite sind Parameter weit verbreitet, die die Lautstärke beschreiben. Ergänzt werden diese Parameter oft durch etablierte psychoakustische Größen. Unbekannt ist jedoch, inwieweit diese (psycho-)akustischen Parameter tatsächlich geeignet sind, Soundscapes zu beschreiben und zu vergleichen hinsichtlich den Menschen betreffender Hypothesen. Hierzu soll diese Dissertation einen Beitrag leisten. Der dabei verfolgte Ansatz ist explorativ, empirisch und datenbasiert. Zunächst werden Anforderungen an das Ziel – die Beschreibung akustischer Umgebungen – definiert und mit Konzepten aus aktuellen Forschungsgebieten ergänzt. Anschließend wird eine Methodik entwickelt, die es erlaubt, fundamentale akustische Dimensionen zu identifizieren auf der Basis empirischer Beobachtungsdaten realer akustischer Umgebungen und mit Hilfe multivariater statistischer Methoden. Sie enthält Überlegungen zum physikalischen Schallfeld, zur menschlichen Hörwahrnehmung sowie zu geeigneten Signalverarbeitungstechniken. Die Methodik wird anschließend auf einen beispielhaften Datensatz von Ambisonics Soundscape-Aufnahmen angewandt. Die resultierenden akustischen Dimensionen werden hinsichtlich ihrer Plausibilität und wahrnehmungsbezogenen Konsistenz diskutiert. Schließlich werden zwei Anwendungsbeispiele vorgestellt, um die Methodik weiter zu validieren und um die Anwendbarkeit der akustischen Dimensionen in konkreten Forschungsszenarien zu testen. Hierbei kann festgestellt werden, dass die gefundenen Dimensionen einen hohen Grad an Varianz akustischer Umgebungen erklären können und gut interpretierbar sind. Sie bilden somit eine geeignete Grundlage für die hier dargestellte Analyse von Soundscapes. Die Methodik ist dabei variabel erweiterbar, sodass vielfältige Anwendungen und Forschungsarbeiten bzgl. akustischer Umgebungen ermöglicht werden

Perception of Reverberation in Domestic and Automotive Environments

nrpages: 227status: publishe

The quality of experience of next generation audio :exploring system, context and human influence factors

PhD ThesisThe next generation of audio reproduction technology has the potential to deliver immersive and personalised experiences to the user; multichannel with-height loudspeaker arrays and binaural techniques offer 3D audio experiences, whereas objectbased techniques offer possibilities of adapting content to suit the system, context and user. A fundamental process in the advancement of such technology is perceptual evaluation. It is crucial to understand how listeners perceive new technology in order to drive future developments. This thesis explores the experience provided by next generation audio technology by taking a quality of experience (QoE) approach to evaluation. System, context and human factors all influence QoE and in this thesis three case studies are presented to explore the role of these categories of influence factors (IFs) in the context of next generation audio evaluation. Furthermore, these case studies explore suitable methods and approaches for the evaluation of the QoE of next generation audio with respect to its various IFs. Specific contributions delivered from these individual studies include a subjective comparison between soundbar and discrete surround sound technology, the application of the Open Profiling of Quality method to the field of audio evaluation, an understanding of both how and why environmental noise influences preferred audio object balance, an understanding of how the influence of technical audio quality on overall listening experience is related to a range of psychographic variables and an assessment of the impact of binaural processing on overall listening experience. When considering these studies as a whole, the research presented here contributes the thesis that to effectively evaluate the perceived quality of next generation audio, a QoE mindset should be taken that considers system, context and human IFs.Engineering and Physical Sciences Research Council (EPSRC) and the British Broadcasting Corporation Research & Development department (BBC R&D