Edwin Pfanzagl-Cardone - The Art and Science of 3D Audio Recording-Springer (2023).pdf
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Edwin Pfanzagl-Cardone - The Art and Science of 3D Audio Recording-Springer (2023).pdf
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TheArtandScienceof3DAudioRecordingEdwinPfanzagl-CardoneTheArtandScienceof3DAudioRecordingEdwinPfanzagl-CardoneTheArtandScienceof3DAudioRecordingEdwinPfanzagl-CardoneSound-EngineeringandAcousticsDepartmentSalzburgFestivalSalzburg,AustriaISBN978-3-031-23045-5ISBN978-3-031-23046-2(eBook)https:
/doi.org/10.1007/978-3-031-23046-2TheEditor(s)(ifapplicable)andTheAuthor(s),underexclusivelicensetoSpringerNatureSwitzerlandAG2023Thisworkissubjecttocopyright.AllrightsaresolelyandexclusivelylicensedbythePublisher,whetherthewholeorpartofthematerialisconcerned,specificallytherightsoftranslation,reprinting,reuseofillustrations,recitation,broadcasting,reproductiononmicrofilmsorinanyotherphysicalway,andtransmissionorinformationstorageandretrieval,electronicadaptation,computersoftware,orbysimilarordissimilarmethodologynowknownorhereafterdeveloped.Theuseofgeneraldescriptivenames,registerednames,trademarks,servicemarks,etc.inthispublicationdoesnotimply,evenintheabsenceofaspecificstatement,thatsuchnamesareexemptfromtherelevantprotectivelawsandregulationsandthereforefreeforgeneraluse.Thepublisher,theauthors,andtheeditorsaresafetoassumethattheadviceandinformationinthisbookarebelievedtobetrueandaccurateatthedateofpublication.Neitherthepublishernortheauthorsortheeditorsgiveawarranty,expressedorimplied,withrespecttothematerialcontainedhereinorforanyerrorsoromissionsthatmayhavebeenmade.Thepublisherremainsneutralwithregardtojurisdictionalclaimsinpublishedmapsandinstitutionalaffiliations.ThisSpringerimprintispublishedbytheregisteredcompanySpringerNatureSwitzerlandAGTheregisteredcompanyaddressis:
Gewerbestrasse11,6330Cham,SwitzerlandPrefaceThisisagainabookwrittenbyasoundengineerforsoundengineers,whichtakesnotonlyalookatthetheorybehind3Daudio,butalsoatthepracticalimplementationsintheformofmicrophonetechniquesfor3D,aswellasthemostcommonsoftwareplatformswhichcanbeusedforworkingon3Daudio.Strictlyspeaking,usingtheterm3Daudioinconnectiontoanarrayofreplayspeakersarrangedalongthex,yandzplanesiswronginitself,asofcourseafourthdimensiontimeisneededforanysoundeventtobeabletohappen.Somaybeitshouldbetermed4Daudioinsteadbutthischangeisnotverylikelytohappen.(Also,theterm4Dseemstohavebeenadoptedbythemeparksfortheiruseinmovietheatres,displaying3Dmovies,enhancedwithtactilestimulifortheviewers.)However,asauthorofthisbookIprefer3Daudioovertheuseofimmersiveaudio,asIwouldalreadyconsidersurroundrecordingstobeimmersive,andthereforenorealdistinctionto3Daudio.Intheworldoftheatre,havingvenueswitha3Daudiospeakersystemavailable(usuallyevenwithoneormoreoverheadVoiceofGodspeaker(s)integratedintheceiling)iscommonsincedecades,so3Daudiowasaneverydayrealityalreadysincemanyyearsinthosevenues.Anothermilestoneintermsofaudio-visual3Dsoundhappenedinthecinematheatrealreadyin1940bynow80yearsagowiththecreationofWaltDisneysFantasia.Thiswasthefirstmovieevertoemployanextensivemulti-channelsound-tracksystem,whichdespiteseveraldifferenttechnicalimplementationsdevelopingfromMarkItoMarkXovertheyears(formoredetails,seehttps:
/en.wikipedia.org/wiki/Fantasound)wasmainlybasedonthreetrackswithaudioinformationandonecontroltrack,whichwouldsteerthereplayvolume,butalsosound-trackpositioningintheroom,onfront,rearandceilingspeaker(s)inlaterversions.Assuch,thisFantasoundsystem,asitwascalledbyWaltDisneyanditsdeveloper,chiefaudioengineerWilliamE.Garity,wasnotonlythefirststereophonic,butalsothefirstsurroundandalsofirst3Daudiosystemwithobject-basedmovingsound,realizedwithanaloguetechnologyIn3Daudiosystems,ofcoursenotonlythespecificmicrophonepositionsfor3Daudiorecordingareimportant,butequallysothelayoutoftheloudspeakersfor3DvviPrefaceaudioreproduction.Therefore,itisalsonecessarytoexaminethecurrentproposalswithrespectto3Daudio,namelyDolbyAtmosTM,DTS:
X,Auro3D,butalsosuchindividualisticapproachesasthatoftheIsoscelesTriangle-basedMMADsystembyMichaelWilliams(seeChap.3).Quadraphonyinthe1970swasafirstattemptattryingtobringamoreimmer-sivesoundaesthetictothehomes,atleastinthecontextofrecordedmusic.Unfortu-nately,asweknow,thisattempthasfailed.Whenimmersivesoundcamealongthesecondtimeintheformofsurroundsound,thespeakerarrangementandchannellayoutwasmainlydictatedbyneedsorconventionsalreadyfoundinthecinematicindustry,withastrongemphasisonthefronthemisphere,byproviding(atleast)aL,C,Rfrontloudspeakersystem,whichdidnotfindequalbalanceattherearoratthesides.Haditbeenprimarilybeenwithaseamlessreproductionofmovingsoundobjectsinmind,proposalsfornewsurroundspeakerlayoutswouldlikelyhavehadtobemoreofasymmetricalkind,e.g.withoneloudspeakeratevery60degreesofthefullcircle(for2Dsurround).Withrespectto3Daudiosystems,MichaelWilliamsMMAD3D(MultichannelMicrophoneArrayDesign)standsoutpositivelyinthatitdoesnotadheretothecinema-standarddrivenemphasisonaL,C,Rsystemwhichneglectsabalancedsplayofspeakersintherearandonthesides,butherathergoesforhisowndesignusingsideandrearloudspeakers,whichpartlyalsousestimedifferenceinformationintheverticalaxistoachievethesensationofsoundsourceelevationandcorrectlocalization,basedontheresultsofhisownresearch,whichseemtobesomewhatincontrastwiththefindingsofFlorianWendtetal.,butalsothoseofHyunkookLee.Williamsinterestgoestowardsprovidingacompletesystem,consistingofamicrophonearray,abletocapturetrue3Dsoundwithaccuratelocalization,aswellasanappropriateloudspeakersystem,whichiscapableofcorrectlyreproducingthesignalsofhismulti-microphonearrays.Theresultingspeakerlayouts(aswellasmicrophonearraysignals)arecompatiblewiththestandardspeakerlayoutsasfoundwithAuro3D,DolbyAtmosandthelike,butactuallyevengobeyondthosesystemsinthesensethattheyarefullysymmetricalinordertoensureaccuratereproductionofmovingsoundsourcesinalldirections.Theonlyothersystemwhichisascomplete,byprovidingbotharecordingsolutionfor3Daudio,aswellasadefinedloudspeakerreplaysystemlayout,scalabletoneed,isAmbisonics.Unfortunately,thereisadiscrepancybetweenthetheoreticalversatilityandthepracticallyachievablesoundquality,whichatleastsofarhasseverelimits,asbecameevidentthroughvarioussubjectivelisteningtests(seeChap.5andChap.10inthisbookformoredetails).ApartfromAmbisonics,whichwasprobablythefirstattemptatcapturing3Daudioalreadyintheearly1970s,interestin3Daudiotookupmomentummainlyfromtheyear2000onwards,whenmoreandmoresoundengineersandscientistsstartedtojumponthebandwagon.Thisiswhytodayroughly20yearsafterthefirstsystemproposalsinrespectto3DaudiostartedtoappearintheworldofaudioengineeringwefindarelevantPrefaceviinumberof3Dmicrophonesarraysfromawidevarietyofauthorsandwithdifferentpsycho-acousticapproaches,whichwillbeexaminedinthisbook.Duringthelast15years,theawarenessontheimportanceofalsocapturingthediffusecomponentsofasoundfieldwithanappropriatemicrophonetechniquehassignificantlyincreased,asisevidentduetotheexistenceofvariouspapers.Inreality,alreadyduringtheeraofpure2-channelstereomostmicrophonetechniqueswerenotcomplyingtothefollowingtwoimportantcriteria:
(A)directsoundneedstobecapturedinawell-definedmannerwhichensurescorrect(i.e.ideallynon-distorted)localizationalongthestereophonicrepro-ductionbase(betweenthetwoloudspeakers)andwillresultinacorrelatedsignal(withacross-correlationcoefficientof1,i.e.mono)intheLandRchannelforon-axissoundsources,and(B)atthesametimethediffusesoundcomponents(i.e.reverb)needtobepickedupinacompletelyde-correlatedmanner(downtothelowestfrequencies,inordertoensureahighdegreeofspatialimpression)bythemicrophonesystem.Unfortunately,mostwell-knownstereo-microphonetechniquesfailwiththesecondcondition:
itismainlytheso-calledBlumleinPairofcrossedfigure-of-eights,whichcompliestobothcriteria(AandB),andlargeABspacedomni-capsuleswhichareseparatedatleastbythecriticaldistance(orreverberationradius)oftherecordingvenue,complyingtocriterionB;twoothersystemswhichcomplywelltothecriterionofde-correlationare:
MS-techniquewithaneffectiverecordingangleof132,aswellashyper-cardioidsatanincludedangleof133(formoredetails,seeSect.2.5inmyfirstbookwithSpringerpublishingTheArtandScienceofSurroundandStereoRecording,seelink:
TheArtandScienceofSurroundandStereoRecording|SpringerLink).Unfortunately,theinadequaciesofmanyofthealreadywell-establishedstereo-microphonetechniqueshavenotbeentakenintoconsiderationwhenexpandingorextrapolatingthemintotherealmofsurroundsound.Hence,itisnosurprisethatformanyofthem,drawbacksintermsofspatialreproductionhaveremained.(Anin-depthanalysisofthiscanbefoundinChaps.7,8and9ofmyfirstbookwithSpringer.)Withtheaddedcomplexityin3Dmicrophonesystems,thetaskofnaturalrepro-ductionwithaconvincingspatialimpressionhasopenedupnewpossibilitiesinrespecttoachievinghigherquality,butatthesametimehasnotnecessarilybecomeaneasierone.Duetopracticalconsiderationsintermsofmechanicalset-upof3Daudiomicro
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