Contents

Table of Contents

Contents

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1. Spatial Audio – the Fundamentals

1.1 Background

1.2 Stereo – the original “Spatial Audio”

1.3 Spatial Audio for Broadcast – Fundamentals of Established Techniques

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2. Binaural Sound

2.1 Binaural Recording

2.2 Recent Developments in Binaural Sound

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3. Ambisonics

3.1 Ambisonic Recording

3.2 Recent Improvements in Ambisonics

4. Recent Developments

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4.1 Virtual Environments

4.2 Wave Field Synthesis (WFS)

4.3 Vector Base Amplitude Panning (VBAP)

4.4 Improved Standardisation

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Conclusions

References & Bibliography

Abstract / Introduction

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Spatial Audio is an area of sound engineering that offers the potential to deliver a full 3D listening experience similar real-world audio. This report provides an overview of the fundamentals of Spatial Audio and how it pertains to broadcasting, and explores the major technologies for enabling it and recent technical developments in the field. Specifically it looks at the improvements in Binaural and Ambisonic recording and reproduction and the benefits these provide in terms of delivering a true Spatial Audio experience to listeners.

1. Spatial Audio – the Fundamentals

1.1 Background

Sound quality reproduction has improved dramatically over the last few decades. Today, things like distortion and signal to noise ratio are no longer really an issue for most listeners. Sound recording systems are now good enough to capture the dynamic and frequency ranges at quality levels beyond what the human ear can perceive. The last major obstacle remaining to be overcome in the pursuit of fully realistic sound experiences is to provide listeners with a true 3D like sound experience. [10]

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Pioneers in the field have long sought to provide listeners with a realistic Spatial Audio experience. Thanks to recent advances in technology, the ultimate realisation of this goal is drawing much closer.

Spatial Audio attempts to record the most salient parts of a sound field and reproduce them in a way that the human listener perceives the spatial characteristics of the original sound scene, i.e. so that the listener almost feels like they were there [6].

1.2 Stereo – the original “Spatial Audio”

Stereo is the most common way that consumers listen to audio content. Stereo was the first attempt at providing listeners with some degree of a spatialised audio experience by recording with 2 microphones on either side of the sound source. In most cases stereo reproduction is provided by two loudspeakers, typically with an aperture of 60° and offers only a mild illusion of spatial sound, since reproduction is from the front only [9].

This is because with loudspeakers both ears receive sound signals from both speakers. Two-channel stereo, without any form of special psychoacoustic processing, is limited in its ability to provide all-round sound images and reverberation [10].

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This has proven sufficient for most consumers as they’re typically faced towards the sound source, while listening to music or watching television. Conventional stereo has proven acceptable on headphones for most consumers, and music producers and device manufacturers alike have been slow to go to the expense of distributing music in multiple formats [6].

Surround sound techniques with arrays of speakers, such as Dolby 5.1 sought to improve on this approach, but don’t really provide a realistic, immersive 3D sound experience to listeners [9]. Furthermore given the need for a plethora of speakers, most consumers have not installed surround sound systems in their homes, contenting themselves with standard stereo provided by their TV or music systems [10].

With the advent of new media via the internet and improved technological developments, particularly for providing immersive experiences in virtual environments; there is a growing demand for a more realistic spatialised audio experience [4].

Much of the theory around how to reproduce spatial audio and how it relates to creating a 3D like audio experience, more realistic sound than stereo, has existed since the 70s. As the applications weren’t clear and the quality of the technology wasn’t adequately developed, the field of Spatial Audio didn’t advance considerably [10].

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With the growing popularity of Virtual Environments (VEs), clearer applications and improved technology over the last 4 decades, Spatial Audio is now better able to create a 360° experience. Demand for a more realistic Spatial Audio is steadily increasing as consumers are looking for more immersive experiences in things like virtual environments for computer games, live concerts, sports events and business applications like video conferencing.

1.3 Spatial Audio for Broadcast – Fundamentals of Established Techniques

Rumsey (2001) stated that the aim of high quality recording and reproduction should be to create as believable an illusion of ‘being there’ as possible. He rightly asks, what is the ultimate goal of enhanced audio? Is it trying to place, “the listener in the concert hall or bring the musicians into the living room?” Spatialised audio holds out the promise of providing such an experience to the listener [10].

Spatial Audio Applications for Broadcast

Broadcast media such as TV, Cinema and Radio would seem ideal to exploit the benefits of 3D sound to bring the listener closer to “being there”. Owing to the limitations of technology historically, these types of applications such as live concerts, cinema and TV had been better suited to multichannel audio systems, using loudspeakers positioned around the listening area [10].

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To provide an enhanced spatialised audio experience to listeners for creative or artistic applications over broadcast media, a big challenge has been that listeners my not be positioned in a predictable location relative to the sound system; making it much more difficult to manage the sound signals they receive [10].

With traditional channel based reproduction, even including more advanced surround sound configurations (5.1, 7.1, 9.1, 22.2) which include loudspeakers for height dimensions, these find their limits with their incompatibilities between formats and their inability to provide realistic spatial audio experience to the listener. It is necessary to remove these limitations to provide a 3D audio listening experience [6].

2. Binaural Sound