scope of work definition phase.....aes 57 possible adoption issues
I feel comfortable taking the creative design lead and project management of this project now that we have who we have @ Dolby on board as a codesdign partner.
So I am pasting things not to forget..
Enhanced Wide-Area Low-Frequency Sound Reproduction in Cinemas: Effective and Practical Alternatives to
Current Sub-Optimal Calibration Strategies
This paper explores strategies for achieving accurate wide-area low-frequency sound reproduction in cinemas. Current
standards for B-Chain calibration call for single channel low-frequency equalization aided by either single-point or spatiallyaveraged
response measurements, an approach only applicable to a reasonably spatially invariant low-frequency response.
A holistic approach to low-frequency coverage optimization is presented exploiting subwoofer arrays, their positioning and
multi-point signal processing. Acoustic-field examples are presented using finite-difference time-domain (FDTD) modeling
software that expose a potential for superior wide-area signal reconstruction over that achieved using the current standards
and recommendations.
Considerations for the Generation and Measurement of Low Frequency Effects in Cinema Rooms
Little has been published about the repercussions of different source locations and measuring positions for the
Low-Frequency Effects (LFE) loudspeakers in cinemas and dubbing theatres. The aim of this study is to determine the
effects of the number and position of the loudspeakers on the uniformity of the response over the listening area, and to
assess the effect of the measuring of those responses by the choices made regarding the positioning of the microphones
within typically used arrays. Some organisations issuing recommendations for the installation of LFE loudspeakers have
long suggested that they should be installed asymmetrically, below the screen. The reason given for this is to avoid the
symmetrical driving of the low-frequency modal responses of the rooms, the sources typically being centred about 20% of
the distance from one side-wall and 33% of the distance from the opposite side wall. However, other organisations, and
many designers, have recommended the mounting of the LFE loudspeakers in tighter-packed clusters. Furthermore, it has
long been suggested that a single microphone position is inadequate for measuring the response of an LFE channel
because the long wavelengths involved make spacial variation in the measurements inevitable. Typically, 4, 5, 8 and
10-microphone arrays have been used, but as rooms differ so much in size, shape and acoustic properties, no universal
instructions exist about precisely how to place the microphones in such arrays. This paper examines how the choice of
low-frequency source positions, and the microphone positions in a 5-microphone array, can affect the measured average
responses over the designated listening areas. It also discusses how the positioning of the loudspeakers can affects the
evenness of coverage. The results of the spacially averaged responses are compared with the responses at individual
microphone positions, in order to assess how representative the averages are of the responses at specific locations.
Dynamics and Low-Frequency Ratio in Popular Music Recordings since 1965
The loudness, dynamic range and energy distribution in low-frequency bands of popular music are analyzed. One objective
was to operationalize popular music and construct a robust, balanced sample that covers a specific but relevant music
market regarding annual revenues. The sample consists of the “German Top 40” year-end charts from 1965 to 2013.
Furthermore, different methods of measurement, such as LKFS or dBFS RMS, are used and compared. It could be shown
that there was a significant increase of loudness, a decrease of the dynamic range and an increasing importance of the
low-frequency bands over time. While our results correspond to most previous research, there is a major difference
regarding the recent data. It is frequently mentioned in studies that the process of decreasing dynamic range peaked in
2004, and after that the opposite trend occurred, namely, an increase in dynamic range. In the German music market,
however, this seems to be true only for the time span from 2004 to 2010. From 2011 to 2013 a significant decrease of the
dynamic range and an increase in loudness were found.
A Description of an Object-Based Audio Workflow for Media Productions
The object-based audio approach can provide the audience with a new immersive sound experience that so far could not be
achieved with conventional channel-based productions. Moved by these benefits, the interest of the media industry in
applying this concept has increased dramatically in the recent years. However, the object-based approach does not only
imply an improved listening experience, but it also brings a much more flexible workflow and new possibilities to sound
engineers, from the recording process to the playback systems. This paper presents the results of a research project in this
regard, in order to provide the creative production process with a flexible and simple workflow using the advantages of the
object-based audio technologies.
Using Audio Objects and Spatial Audio in Sports Broadcasting
This paper gives an overview on how immersive sound and interactive audio objects can be used in sports TV broadcasting
with regard to the characteristic sound elements of different sport families. New broadcast standards target at bringing object
based audio and 3D-Audio to the homes. Once the technical infrastruc- ture has been established, content is needed to
make use of the innovative features. Sports TV broadcasting is a promising field for new audio standards because of its
wide range of sound scenarios and its high market value. Some of these are presented and investigated with the question in
mind, how audio objects can be captured in real time and how spatial audio can be used to make sports TV more exciting.
Properties of Large-scale Sound Field Synthesis
Sound field synthesis has been pursued as a promising approach for spatial audio reproduction for large listening areas.
Research is typically performed on small and mid-size systems. An increasing number of systems of cinema size and larger
exist, which have shown to exhibit properties that cannot be observed with smaller setups. In particular, practical limitations
lead to artifacts whose perceptual saliency increases with array size. Depending on the situation, these artifacts are most
prominent in time domain or in frequency domain. In this paper, we review the current state of knowledge on the properties
of sound field synthesis using large-size loudspeaker arrays regarding both direct sound and reverberation.
Producing 3D Audio in Ambisonics
Ambisonics is a 3D recording and playback method that is based on the representation of the sound field excitation as a
decomposition into spherical harmonics. This representation facilitates spatial sound production that is independent of the
playback system. The adaptation to a given playback system (loudspeakers or motion-tracked headphones) is achieved by
a suitable decoder. This contribution gives an overview of the current state-of-the-art in Ambisonics including content
production using Ambisonic main microphone arrays or panning of virtual sources, spatial effects, and reproduction by
loudspeakers and headphones. The software for the whole production chain is already available as a VST-plugin suite for
digital audio workstations.
Localization of Audio Objects in Multichannel Reproduction Systems
With spatial audio systems the illusion of being in a sound scene should be created, which means to reproduce a natural
sound field enveloping the listener. Perceived audio quality is related to the position of the listener in the reproduction room.
Former studies indicated that with increased number of loudspeakers for reproduction a larger listening area with high audio
quality can be created. In these studies quality was mostly assessed in terms of overall quality or basic audio quality;
different factors like distortion, coloration, envelopment and localization were not assessed separately. The new MPEG-H
standard should enable high efficiency coding and media delivery in heterogeneous environments. Part 3of MPEG-H deals
with the coding and delivery of high-quality 3D audio content, whereas for the producer the number of loudspeaker channels
used for reproduction is unknown and flexible. In MPEG the overall audio quality was used for selection of most suitable
coding and rendering algorithm. In addition to the MPEG testing and selection process, we conducted a study on localization
performance dependent on listener position, number of loudspeakers and rendering algorithms. A new test method with an
innovative testing framework was applied, reducing the influence of visual cues during testing. This method was used to
evaluate three different rendering schemes and different loudspeaker setups at three different listening positions. The results
showed that reproduction via 22 loudspeakers gives a better localization accuracy compared to 10 and 5 channels. More
interestingly, a clear shift of the perceived position of sound objects to the right was observed. In former studies, where the
loudspeakers where visible, such a shift could not be observed. This might support our assumption that the vision highly
influences the localization perception and therefore listening tests without visual cues are required.
Next Generation Surround Decoding and Upmixing for Consumer and Professional Applications
This paper describes a new spatial audio algorithm that creates a channel-based three-dimensional sound scene from two
or more input channels. The algorithm was designed to decode matrix encoded programs (Lt/Rt). It is also an effective
stereo upmixer; the signal relationships that guide the decoding algorithm (e.g. cross correlation) also provide appropriate
cues to the intended spatial scene for standard, unencoded programs – we decode the artist’s intent. Input channel
configurations with more than two channels are decomposed into channel pairs which are then processed independently.
Improvements relative to existing surround decoding systems include improved selectivity and separation due to multi-band
processing; increased listener envelopment through independent processing for direct and diffuse signal components and
user adjustable decorrelation; and support for an arbitrary number of output channels at user specified locations including
elevation. The system described has been recently deployed in consumer and professional products for home, mobile, and
cinema applications. In this paper we give a detailed description of the signal processing, and provide results from a
subjective listening test which indicates significant improvement relative to legacy systems.
Obviously some papers carry more weight than others.... the 3d perception visual correlation paper is a highly meritory paper as Gravity Premiere at Dolby Labs so aptly demonstrated.
GUESS WHAT MY PREDICTION FOR A FUTURE AES WHITEPAPER:
HDR DYNAMICS AND IMMERSIVE SOUND MIX CREATIONS. THE ATMOS SIDE SAID, on the request effort for dolby vision projectors at the atmos dubstage goal..."keep the pressure".