Immersive Sound The Art and Science of Binaural and Multi-Channel Audio Audio Engineering Society Presents Series
Coordonnateurs : Roginska Agnieszka, Geluso Paul
Immersive Sound: The Art and Science of Binaural and Multi-Channel Audio provides a comprehensive guide to multi-channel sound. With contributions from leading recording engineers, researchers, and industry experts, Immersive Sound includes an in-depth description of the physics and psychoacoustics of spatial audio as well as practical applications. Chapters include the history of 3D sound, binaural reproduction over headphones and loudspeakers, stereo, surround sound, height channels, object-based audio, soundfield (ambisonics), wavefield synthesis, and multi-channel mixing techniques. Knowledge of the development, theory, and practice of spatial and multi-channel sound is essential to those advancing the research and applications in the rapidly evolving fields of 3D sound recording, augmented and virtual reality, gaming, film sound, music production, and post-production.
Contributors
Foreword
WIESLAW WOSZCZYK
Acknowledgements
Introduction
AGNIESZKA ROGINSKA AND PAUL GELUSO
1 Perception of Spatial Sound
ELIZABETH M. WENZEL, DURAND R. BEGAULT, AND MARTINE GODFROY-COOPER
2 History of 3D Sound
BRAXTON BOREN
3 Stereo
PAUL GELUSO
4 Binaural Audio Through Headphones
AGNIESZKA ROGINSKA
5 Binaural Audio Through Loudspeakers
EDGAR CHOUEIRI
6 Surround Sound
FRANCIS RUMSEY
7 Height Channels
SUNGYOUNG KIM
8 Object-Based Audio
NICOLAS TSINGOS
9 Sound Field
ROZENN NICOL
10 Wave Field Synthesis
THOMAS SPORER, KARLHEINZ BRANDENBURG, SANDRA BRIX, AND CHRISTOPH
SLADECZEK
11 Applications of Extended Multichannel Techniques
BRETT LEONARD
Index
Agnieszka Roginska is Music Associate Professor and Associate Director of the Music Technology program at New York University. Her research focuses on the analysis, simulation, and applications of immersive and 3D audio.
Paul Geluso is Music Assistant Professor at New York University in the Music Technology program. His work focuses on the theoretical, practical, and artistic aspects of sound recording and reproduction.
Date de parution : 10-2017
19.1x23.5 cm
Date de parution : 10-2017
19.1x23.5 cm
Thème d’Immersive Sound :
Mots-clés :
Interaural Time Difference; Immersive sound; immersive audio; spatialization; 3D audio; virtual reality; multichannel sound; High Order Ambisonics; Paul Geluso; Virtual Sound Sources; Elizabeth M; Wenzel; Wave Field Synthesis; Durand R; Begault; Immersive Audio; Martine Godfroy-Cooper; Sound Field; Braxton Boren; Played Back; Edgar Choueiri; Multi-Channel Audio; Francis Rumsey; Multichannel Audio; Sungyoung Kim; Amplitude Panning; Nicolas Tsingos; Loudspeaker Array; Rozenn Nicol; Virtual Auditory Environment; Thomas Sporer; Crosstalk Cancellation; Karlheinz Brandenburg; Audio Objects; Sandra Brix; Microphone Array; Christoph Sladeczek; Sound Source; Brett Leonard; Cardioid Microphones; Height Loudspeakers; Surround Loudspeakers; Tonal Distortion; Spherical Harmonics Expansion; Immersive Audio Systems; Stereo Program; Virtual Auditory Space; Super-cardioid Microphones