COMPASS: Coding and Multidirectional Parameterization of Ambisonic Sound Scenes

Current methods for immersive playback of spatial sound content aim at flexibility in terms of encoding and decoding, abstracting the two from the recording or playback setup. Ambisonics constitutes such a method, that is however signal-independent, and at low spatial resolutions fails to provide appropriate spatialization cues to the listener, with potential severe colouration effects and localization ambiguity. We present a new signal-dependent method for parametric analysis and synthesis of ambisonic sound scenes that takes advantage of the flexibility of Ambisonics as a spatial audio format, while improving reproduction. The proposed approach considers a more general acoustic model than previous proposals, with multiple source signals and a non isotropic ambient component. According to a listening test using headphones, the method is perceived closer to binaural reference sound scenes than ambisonic playback.

[1]  Emmanuel Vincent,et al.  A Consolidated Perspective on Multimicrophone Speech Enhancement and Source Separation , 2017, IEEE/ACM Transactions on Audio, Speech, and Language Processing.

[2]  R. O. Schmidt,et al.  Multiple emitter location and signal Parameter estimation , 1986 .

[3]  Mark A. Poletti,et al.  Three-Dimensional Surround Sound Systems Based on Spherical Harmonics , 2005 .

[4]  Craig T. Jin,et al.  Spherical Harmonic Signal Covariance and Sound Field Diffuseness , 2016, IEEE/ACM Transactions on Audio, Speech, and Language Processing.

[5]  Archontis Politis,et al.  Parametric Spatial Audio Effects , 2012 .

[6]  Sugato Chakravarty,et al.  Method for the subjective assessment of intermedi-ate quality levels of coding systems , 2001 .

[7]  Natasha Barrett,et al.  A New Method for B-Format to Binaural Transcoding , 2010 .

[8]  Franz Zotter,et al.  All-Round Ambisonic Panning and Decoding , 2012 .

[9]  Etienne Parizet,et al.  Investigation on localisation accuracy for first and higher order ambisonics reproduced sound sources , 2013 .

[10]  N. J. A. Sloane,et al.  McLaren’s improved snub cube and other new spherical designs in three dimensions , 1996, Discret. Comput. Geom..

[11]  Christof Faller,et al.  Upmixing and Beamforming in Professional Audio , 2017 .

[12]  Michael J. Gerzon Periphony: With-Height Sound Reproduction , 1973 .

[13]  Audun Solvang Spectral Impairment for Two-Dimensional Higher Order Ambisonics , 2008 .

[14]  Arye Nehorai,et al.  Improved Source Number Detection and Direction Estimation With Nested Arrays and ULAs Using Jackknifing , 2013, IEEE Transactions on Signal Processing.

[15]  Craig T. Jin,et al.  A frequency-domain algorithm to upscale ambisonic sound scenes , 2012, 2012 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP).

[16]  Christoph Pörschmann,et al.  Binaural Reproduction of Plane Waves With Reduced Modal Order , 2014 .

[17]  P. Peterson Simulating the response of multiple microphones to a single acoustic source in a reverberant room. , 1986, The Journal of the Acoustical Society of America.

[18]  Emanuel A. P. Habets,et al.  An Informed Parametric Spatial Filter Based on Instantaneous Direction-of-Arrival Estimates , 2014, IEEE/ACM Transactions on Audio, Speech, and Language Processing.

[19]  Archontis Politis,et al.  First‐Order Directional Audio Coding (DirAC) , 2017 .

[20]  Ville Pulkki,et al.  Directional perception of distributed sound sources. , 2011, The Journal of the Acoustical Society of America.

[21]  Archontis Politis,et al.  Sector-Based Parametric Sound Field Reproduction in the Spherical Harmonic Domain , 2015, IEEE Journal of Selected Topics in Signal Processing.

[22]  Juha Vilkamo,et al.  Time–Frequency Processing: Methods and Tools , 2017 .

[23]  Boaz Rafaely,et al.  Spatial perception of sound fields recorded by spherical microphone arrays with varying spatial resolution. , 2013, The Journal of the Acoustical Society of America.