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The faithful reproduction of the spatial sound field arouses equally interest. Field tests of the proposed solutions are presented in comparison with the current state-of-the-art equipment. The second system is an underwater probe with four hydrophones and a panoramic camera, with which it is possible to monitor the effects of underwater noise produced by human activities on marine species.įinite Elements Method (FEM) simulations have been used to calculate the array response, thus deriving the filtering matrix and performing theoretical evaluation of the spatial performance. The size of the array is designed accordingly to the frequency range of interest for automotive Noise, Vibration & Harshness (NVH) applications. The first solution consists in a microphone array made of 32 capsules and a circular array of eight cameras, optimized for low frequencies.

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Both acoustic and visual spatial information is recorded and combined together to produce static and dynamic colour maps, with a specially designed software and employing Ambisonics and Spatial PCM Sampling (SPS), two common spatial audio formats, for signals processing. In this thesis, the design of two new systems for recording and analysing the spatial distribution of sound energy, employing arrays of transducers and cameras, is discussed. However, despite many microphone arrays are reaching the market, most of them is not optimized for engineering or diagnostic use and remains mainly confined to voice and music recordings.

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With virtual and augmented reality technologies spreading fast thanks to entertainment and video game industries, also the professional opportunities in the field of engineering are evolving. Nowadays, a growing interest in the recording and reproduction of spatial audio has been observed. The diffuse residual is enhanced in directional resolution but remains unaffected by translatory movement to preserve as much of the original room impression as possible. And for its main task of convolution-based 6DoF rendering, the plugin detects and localizes prominent directional sound events in the early Ambisonic room impulse response and re-encodes them with direction, time of arrival, and level adapted to the variable perspective of the virtual listener. The plugin permits selecting between two different algorithms for directional resolution enhancement (ASDM, 4DE).

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This contribution presents a plugin to free the virtual perspective from the measured one by real-time perspective extrapolation: The PerspectiveLiberator.

Single-perspective rendering with dynamic head rotation already works quite reliably with upmixed first-order Ambisonic room impulse responses (ASDM, SIRR, etc.). Nowadays, virtual reality interfaces allow the user to change perspectives in six degrees of freedom (6DoF) virtually, and consistently with the visual part, the acoustic perspective needs to be updated interactively.

IEM provides a small 'proof of concept' implementation of tools to write, read audio data and the adaptor matrix, as well tools to analyze the adaptor matrix graphically to select the best decoder for given files. Providing a default periphonic decoder for all surround geometries ensures universal applicability, while inspection tools for the adaptor matrix are advanced means for optimal decoding. It is advocated as extended format, because it enables new techniques to reduce the Ambisonic signal set utilizing prior knowledge about restricted surround geometries like hemispherical or circular. This matrix can be freely configured to re-order, complete, re-normalize, or embed the transmitted or stored audio channels to a default set of periphonic Ambisonic signals. For the case that mixed order or reduced Ambisonic signal sets are beneficial, the format includes a simple matrix -named 'adaptor matrix'. This standard is named ambiX (Ambisonics exchangeable). This paper's mission is to propose a standard for the Ambisonics community and it should be seen as an encouragement to use the proposed convention, in order to facilitate exchange and communication.

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Although it was developed in the seventies and the techniques are well known, there are disagreements how to normalize, store and exchange Ambisonic data. Ambisonics is a 3D audio surround rendering and representation approach based on spherical harmonics with loud-speaker independent transmission channels.

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