(The) art and science of surround and stereo recording : including 3D audio techniques

목차 (Table of Contents)

• CONTENTS
• 1 Spatial Hearing = 1
• 1.1 Mechanisms of Localization = 2
• 1.1.1 HRTF Phase-Characteristics = 9
• 1.1.2 Localization and HRTFs = 11
• 1.2 Mechanisms of Distance Perception = 12
• 1.2.1 Sound Intensity = 13
• 1.2.2 Diffuse Sound = 14
• 1.2.3 Frequency Response = 14
• 1.2.4 Binaural Differences = 14
• 1.3 Spatial Impression = 15
• 1.4 Physical Measures in Relation to Spatial Impression = 18
• 1.5 The Influence of Loudspeaker Quality and Listening Room Acoustics on Listener Preference = 22
• 1.6 Psychoacoustic Effects Concerning Localization and Spatial Impression with Loudspeaker Reproduction = 24
• 1.6.1 Frequency-Dependent Localization Distortion in the Horizontal Plane = 26
• 1.6.2 Frequency-Dependent Localization in the Vertical Plane = 27
• 1.6.3 Effects Concerning the Reproduction of Spaciousness = 27
• References = 31
• 2 Correlation and Coherence = 35
• 2.1 Signal Correlation in Stereo Microphone Systems = 38
• 2.2 Optimized Signal Coherence in Surround Microphone Systems = 46
• 2.3 Optimized Interaural Correlation Coefficient = 48
• 2.4 Evaluations Concerning the Interaction Between Loudspeaker Directivity and Listener Envelopment = 48
• 2.5 Summary and Conclusion = 51
• 2.6 Further Notice = 52
• References = 54
• 3 Stereo Microphone Techniques = 57
• 3.1 Coincident Techniques = 57
• 3.1.1 XY with Cardioids and Hyper-cardioids = 58
• 3.1.2 XY with Figure-of-Eights (Blumlein-Pair) = 59
• 3.1.3 MS Stereo = 60
• 3.1.4 Coincident Omni-directional Microphones? = 60
• 3.1.5 BPT Microphone (`Blumlein-Pfanzagl-Triple,' BPT-3.0) = 61
• 3.2 AB Pair Systems (At-Stereophony) = 67
• 3.2.1 Small AB-Only a `Psychoacoustic Trick'? = 68
• 3.2.2 Faulkner `Phased Array' = 70
• 3.2.3 Faulkner `4-Way Phased Array' = 71
• 3.2.4 Jecklin Disk-or Blumlein Disk? (and Schneider Disk) = 71
• 3.3 Equivalence Stereophony = 74
• 3.3.1 ORTF = 75
• 3.3.2 NOS = 75
• 3.3.3 Large AB = 75
• 3.3.4 Large AB-and the `Hole-in-the-Middle' Effect = 78
• 3.3.5 Small AB Versus Large AB : Introducing `medium AB' and the `AB-Centerfill' Technique = 82
• 3.3.6 OCT-Optimal Cardioid Triangle = 85
• 3.3.7 DHAB-Delayed Hemicardioid AB = 85
• 3.3.8 SHAB-Side Hemicardioid AB = 86
• 3.3.9 CHAB-Center Hemicardioid AB = 87
• 3.4 Combined Stereo Microphone Techniques = 88
• 3.4.1 The `AB-Polycardioid Centerfill' (AB-PC) = 88
• 3.4.2 `AB-Blumlein Centerfill' and Other Techniques = 90
• References = 93
• 4 Surround Microphone Techniques = 97
• 4.1 Coincident and `Quasi-coincident' Microphone Arrays = 97
• 4.1.1 `Soundfield-' or `Soundpoint-' Microphone? = 97
• 4.1.2 DMS (Double-MS Technique) = 103
• 4.1.3 Double-MS + Artificial Head = 103
• 4.1.4 BPT (Blumlein-Pfanzagl-Triple) = 104
• 4.1.5 Martin Triple = 111
• 4.1.6 XY Cardioid Arrangement (Back-to-Back) = 112
• 4.1.7 MILAB 360 (360° Surround Microphone) = 113
• 4.1.8 Phasor Arrays and the `Ghent' Microphone = 113
• 4.2 Spaced Arrays (Two-Dimensional Arrays) = 117
• 4.2.1 Circular Microphone Array = 117
• 4.2.2 Trinnov-Array = 118
• 4.2.3 ABC 5 (Omni Array, Decca-Triangle) = 119
• 4.2.4 INA 5 (Ideal Cardioid Arrangement) = 120
• 4.2.5 OCT Surround (Optimal Cardioid Triangle-Surround) = 121
• 4.2.6 OCT V.2 = 122
• 4.2.7 ORTF Surround = 123
• 4.2.8 Klepko-Array = 124
• 4.2.9 Atmo-Cross (IRT Cross) = 124
• 4.2.10 Hamasaki Square = 126
• 4.2.11 Multiple AB (`Microphone Curtain') = 126
• 4.2.12 AB-PC (AB-Polycardioid Centerfill) = 129
• 4.2.13 CHAB 5.0--Center Hemicardioid AB for Surround = 131
• 4.2.14 Christensen Tree = 132
• 4.2.15 Corey and Martin Tree = 132
• 4.2.16 Fukada Tree = 132
• 4.2.17 King-Tree = 133
• 4.2.18 Polyhymnia Pentagon = 134
• 4.2.19 Ron Streicher's Surround Sound Decca-Tree = 134
• 4.2.20 XY Tri (by Andrew Levine) = 136
• 4.3 Baffle and 3D Techniques = 142
• 4.3.1 KFM 360 (`Kugelflachenmikrofon') = 142
• 4.3.2 Various Baffled Surround Microphone Systems = 144
• 4.3.3 Holophone `H2-Pro' and `PortaMic 5.1' = 145
• 4.3.4 DP A-`D : Mension 5100' Mobile Surround Microphone = 145
• 4.3.5 Sony Sphere-Arrangement = 147
• 4.3.6 Multichannel Microphone Array (Johnston-Lam) = 147
• 4.3.7 HOA-Higher-Order Ambisonics : The `Eigenmike®', Octomic and ZM-1 = 148
• 4.3.8 OSIS-System (Optimal Sound Image Space-'Jecklin Surround') = 150
• 4.3.9 Pan-Ambiophonic 2D / 3D System = 152
• 4.3.10 BACCH(TM) 3D Sound = 154
• 4.4 `3D' or `Immersive Audio' = 155
• 4.4.1 Auro 3D = 158
• 4.4.2 Dolby Atmos = 159
• 4.4.3 3D Audio : Psychoacoustic Considerations and Comparative Tests = 159
• 4.5 General Thoughts on Microphone Arrays = 163
• 4.6 Conclusion = 164
• References = 166
• 5 Artificial Head Recordings = 171
• 5.1 Use of an Artificial Head as a `Human Reference' = 171
• 5.2 Studies Concerning the Quality of Artificial Heads = 173
• 5.3 Summary and Conclusion Concerning the Studies of Artificial Heads = 180
• References = 180
• 6 Some Thoughts on Subjective Listening Tests = 183
• 6.1 Basic Considerations Concerning Listening Tests = 183
• 6.2 Requirements for the Reproduction System ; Consideration of Qualitative Parameters = 184
• 6.3 Further Factors Influencing Listener Perception = 186
• 6.4 Selection of Appropriate Sound Attributes = 187
• 6.5 A Few Thoughts on `Calibrating' Test Listeners and ANOVA = 192
• 6.6 Recording of Program Material for 5.1 Surround at the Salzburg Festival Hall = 192
• 6.6.1 Program Material and Venue Acoustics for the Orchestral Recording Listening Test = 196
• 6.6.2 Program Material and Venue Acoustics for the Duo Recording Listening Test = 196
• 6.7 Subjective Listening Test with 5.1 Surround Loudspeaker Reproduction = 196
• 6.7.1 Listening Test ORCHestral Recording in 5.1 Surround = 199
• 6.7.2 Listening Test DUO Recording in 5.1 Surround 199
• 6.7.3 Duration of the Orchestral and DUO Listening Tests and Listening Room Acoustics = 199
• 6.8 Subjective Listening Test (Binaural) with Headphone Reproduction = 200
• 6.8.1 Choice of Headphones for the Binaural Listening Test = 201
• 6.9 Analysis of the Listening Tests = 202
• 6.9.1 Statistical Analysis of the Orchestral Recording `5.1 Surround' Listening Test = 202
• 6.9.2 Statistical Analysis of the Orchestral Recording `binaural' Listening Test = 203
• 6.9.3 Comparison of the Analysis Results `ORCH 5.1' and `ORCH Binaural' = 205
• 6.9.4 Statistical Analysis of the DUO Recording `5.1 Surround' Listening Test = 206
• 6.10 Correlation Analysis of the Listening Test Data = 207
• References = 208
• 7 Analysis of Frequency-Dependent Signal Correlation and Coherence in Surround Microphone Systems = 211
• 7.1 Measurement of the Frequency-Dependent Cross-Correlation (FCC) and Frequency-Dependent Inter-aural Cross-Correlation (FIACC) = 212
• 7.2 Measurement of the Frequency-Dependent Signal Coherence = 217
• 7.3 Pair-wise Analysis of Correlation and Coherence with Surround Microphone Signals = 222
• 7.4 Conclusions = 239
• 7.4.1 Thoughts on Diffuse-Field Correlation (DFC) = 240
• References = 243
• 8 Analysis of Frequency-Dependent Signal Cross-correlation (FCC) in Stereo Microphone Systems = 245
• 8.1 Calculation of the `Critical Frequency' in Small AB Microphone Systems = 247
• 8.2 Calculation of the `Out-of-Phase Maximum Frequency' = 248
• 8.3 Comparison of the FCC and FIACC of Various Stereophonic Microphone Techniques = 250
• 8.4 Conclusions, Further Analysis and Literature = 259
• References = 262
• 9 Discussion and Conclusion : An Attempt at a Qualitative Ranking of Stereo and Surround Microphone Techniques-An Examination of Various Studies in the Field = 265
• 9.1 Stereo Microphone Techniques = 266
• 9.1.1 Coincident XY with Cardioids and Hyper-cardioids = 269
• 9.1.2 Coincident XY with Figure-of-Eights (Blumlein-Pair) = 270
• 9.1.3 Small Versus Large AB-Revisited = 272
• 9.1.4 Microphone Technique, Reverberation Radius and Frequency-Dependent Radiation Patterns of Musical Instruments = 276
• 9.1.5 Ranking of a Few of the Most Common Stereo Main Microphone Techniques = 283
• 9.2 Surround Microphone Techniques = 289
• 9.2.1 Comparative Surround Microphone Tests = 301
• 9.2.2 A Final Ranking for Several Common 5.1 Surround Microphone Techniques = 324
• References = 326
• 10 Binaural Quality Index of Reproduced Music (BQIrep) = 329
• 10.1 Conclusion = 334
• References = 335
• 11 A Short History of Microphone Techniques and a Few Case Studies = 337
• 11.1 The Early Beginnings of `Stereophonic Sound' = 337
• 11.2 DECCA-tree = 344
• 11.3 RCA `Living Stereo' Recordings = 355
• 11.4 MERCURY' Living Presence' = 369
• 11.5 A Few Case Studies of Live and Studio Recordings with Orchestra (and Solo-Instruments) = 370
• 11.6 Solo-Piano Microphone Techniques = 375
• 11.7 Studio Ensemble Recordings with Acoustic Instruments = 379
• 11.8 Work Practice Recommendations = 386
• References = 388
• Appendix A = 391
• Appendix B Reference-Email No. 1 Concerning OCT-Surround (by Cornelius van der Gragt) = 395
• Appendix C The MAAT "2BC multiCORR" Cross-Correlation Meter Plug-In = 397
• Index = 407