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E-grāmata: Art and Science of Surround and Stereo Recording: Including 3D Audio Techniques

  • Formāts: PDF+DRM
  • Izdošanas datums: 09-Jan-2021
  • Izdevniecība: Springer Verlag GmbH
  • Valoda: eng
  • ISBN-13: 9783709148914
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Art and Science of Surround and Stereo Recording: Including 3D Audio TechniquesPalielināt
  • Formāts: PDF+DRM
  • Izdošanas datums: 09-Jan-2021
  • Izdevniecība: Springer Verlag GmbH
  • Valoda: eng
  • ISBN-13: 9783709148914
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This book presents an extensive and timely survey of more than 30 surround and 20 stereo-microphone techniques. Further, it offers, for the first time, an explanation of why the RCA "Living Stereo" series of legacy recordings from the 1950s and 60s is still appreciated by music lovers worldwide, despite their use of an apparently incorrect recording technique from the perspective of psychoacoustics. Discussing this aspect in detail, the book draws on the authors study of concert hall acoustics and psychoacoustics.





The book also analyzes the "fingerprint" features of a selected number of surround and more importantly stereo microphone techniques in depth by measuring their signal cross-correlation over frequency and also using an artificial human head. In addition, the book presents a rating of microphone techniques based on the assessment of various acoustic attributes, and merges the results of several subjective listening tests, including those conducted by otherresearchers. Building on this knowledge, it provides fresh insights into important microphone system features, from stereo to 3D audio. Moreover, it describes new microphone techniques, such as AB-PC, ORTF-T and BPT, and the recently defined BQIrep (Binaural Quality Index of reproduced music).





Lastly, the book concludes with a short history of microphone techniques and case studies of live and studio recordings.

Recenzijas

This recent book on spatial microphone techniques is clearly a work of love, and dedication to a topic close to the authors heart. It is one of the most comprehensive examinations of the field that I have ever seen, and few stones are left unturned. It will appeal to those sound engineers with an intellectual interest in stereophony those perhaps who are determined to get to the bottom of why the best-sounding techniques work as well as they do. (Francis Rumsey, Journal of the Audio Engineering Society, Vol. 69 (4), April, 2021) 



For anyone interested in the science and engineering of stereo and surround recording techniques Pfanzagl-Cardones book makes fascinating reading and provides a fresh insight into their relative strengths and weakness. I found the book very educational and informative, but also enjoyable and fascinating to read, and it has greatly extended my understanding and appreciation of stereo and surround microphone techniques. (Hugh Robjohns, SOS Sound On Sound, soundonsound.com, June, 2021)

1 Spatial Hearing
1(1)
1.1 Mechanisms of Localization
2(10)
1.1.1 HRTF Phase-Characteristics
9(2)
1.1.2 Localization and HRTFs
11(1)
1.2 Mechanisms of Distance Perception
12(3)
1.2.1 Sound Intensity
13(1)
1.2.2 Diffuse Sound
14(1)
1.2.3 Frequency Response
14(1)
1.2.4 Binaural Differences
14(1)
1.3 Spatial Impression
15(3)
1.4 Physical Measures in Relation to Spatial Impression
18(4)
1.5 The Influence of Loudspeaker Quality and Listening Room Acoustics on Listener Preference
22(2)
1.6 Psychoacoustic Effects Concerning Localization and Spatial Impression with Loudspeaker Reproduction
24(7)
1.6.1 Frequency-Dependent Localization Distortion in the Horizontal Plane
26(1)
1.6.2 Frequency-Dependent Localization in the Vertical Plane
27(1)
1.6.3 Effects Concerning the Reproduction of Spaciousness
27(4)
References
31(4)
2 Correlation and Coherence
35(22)
2.1 Signal Correlation in Stereo Microphone Systems
38(8)
2.2 Optimized Signal Coherence in Surround Microphone Systems
46(2)
2.3 Optimized Interaural Correlation Coefficient
48(1)
2.4 Evaluations Concerning the Interaction Between Loudspeaker Directivity and Listener Envelopment
48(3)
2.5 Summary and Conclusion
51(1)
2.6 Further Notice
52(2)
References
54(3)
3 Stereo Microphone Techniques
57(40)
3.1 Coincident Techniques
57(10)
3.1.1 XY with Cardioids and Hyper-cardioids
58(1)
3.1.2 XY with Figure-of-Eights (Blumlein-Pair)
59(1)
3.1.3 MS Stereo
60(1)
3.1.4 Coincident Omni-directional Microphones?
60(1)
3.1.5 BPT Microphone (`Blumlein-Pfanzagl-Triple,' BPT-3.0)
61(6)
3.2 AB Pair Systems (At-Stereophony)
67(7)
3.2.1 Small AB--Only a `Psychoacoustic Trick'?
68(2)
3.2.2 Faulkner `Phased Array'
70(1)
3.2.3 Faulkner `4-Way Phased Array'
71(1)
3.2.4 Jecklin Disk--or Blumlein Disk? (and Schneider Disk)
71(3)
3.3 Equivalence Stereophony
74(14)
3.3.1 ORTF
75(1)
3.3.2 NOS
75(1)
3.3.3 Large AB
75(3)
3.3.4 Large AB--and the `Hole-in-the-Middle' Effect
78(4)
3.3.5 Small AB Versus Large AB: Introducing `medium AB' and the `AB-Centerfill' Technique
82(3)
3.3.6 OCT--Optimal Cardioid Triangle
85(1)
3.3.7 DHAB--Delayed Hemicardioid AB
85(1)
3.3.8 SHAB--Side Hemicardioid AB
86(1)
3.3.9 CHAB--Center Hemicardioid AB
87(1)
3.4 Combined Stereo Microphone Techniques
88(5)
3.4.1 The `AB-Polycardioid Centerfill' (AB-PC)
88(2)
3.4.2 `AB-Blumlein Centerfill' and Other Techniques
90(3)
References
93(4)
4 Surround Microphone Techniques
97(74)
4.1 Coincident and `Quasi-coincident' Microphone Arrays
97(20)
4.1.1 `Soundfield-' or `Soundpoint-' Microphone?
97(6)
4.1.2 DMS (Double-MS Technique)
103(1)
4.1.3 Double-MS + Artificial Head
103(1)
4.1.4 BPT (Blumlein-Pfanzagl-Triple)
104(7)
4.1.5 Martin Triple
111(1)
4.1.6 XY Cardioid Arrangement (Back-to-Back)
112(1)
4.1.7 MILAB 360 (360° Surround Microphone)
113(1)
4.1.8 Phasor Arrays and the `Ghent' Microphone
113(4)
4.2 Spaced Arrays (Two-Dimensional Arrays)
117(25)
4.2.1 Circular Microphone Array
117(1)
4.2.2 Trinnov-Array
118(1)
4.2.3 ABC 5 (Omni Array, Decca-Triangle)
119(1)
4.2.4 INA 5 (Ideal Cardioid Arrangement)
120(1)
4.2.5 OCT Surround (Optimal Cardioid Triangle-Surround)
121(1)
4.2.6 OCT V.2
122(1)
4.2.7 ORTF Surround
123(1)
4.2.8 Klepko-Array
124(1)
4.2.9 Atmo-Cross (IRT Cross)
124(2)
4.2.10 Hamasaki Square
126(1)
4.2.11 Multiple AB (`Microphone Curtain')
126(3)
4.2.12 AB-PC (AB-Polycardioid Centerfill)
129(2)
4.2.13 CHAB 5.0--Center Hemicardioid AB for Surround
131(1)
4.2.14 Christensen Tree
132(1)
4.2.15 Corey and Martin Tree
132(1)
4.2.16 Fukada Tree
132(1)
4.2.17 King-Tree
133(1)
4.2.18 Polyhymnia Pentagon
134(1)
4.2.19 Ron Streicher's Surround Sound Decca-Tree
134(2)
4.2.20 XY Tri (by Andrew Levine)
136(6)
4.3 Baffle and 3D Techniques
142(13)
4.3.1 KFM 360 (`Kugelflachenmikrofon')
142(2)
4.3.2 Various Baffled Surround Microphone Systems
144(1)
4.3.3 Holophone `H2-Pro' and `PortaMic 5.1'
145(1)
4.3.4 DP A--`D: Mension 5100' Mobile Surround Microphone
145(2)
4.3.5 Sony Sphere-Arrangement
147(1)
4.3.6 Multichannel Microphone Array (Johnston-Lam)
147(1)
4.3.7 HOA--Higher-Order Ambisonics: The `Eigenmike®', Octomic and ZM-1
148(2)
4.3.8 OSIS-System (Optimal Sound Image Space--'Jecklin Surround')
150(2)
4.3.9 Pan-Ambiophonic 2D/3D System
152(2)
4.3.10 BACCH(TM) 3D Sound
154(1)
4.4 `3D' or `Immersive Audio'
155(8)
4.4.1 Auro 3D
158(1)
4.4.2 Dolby Atmos
159(1)
4.4.3 3D Audio: Psychoacoustic Considerations and Comparative Tests
159(4)
4.5 General Thoughts on Microphone Arrays
163(1)
4.6 Conclusion
164(2)
References
166(5)
5 Artificial Head Recordings
171(12)
5.1 Use of an Artificial Head as a `Human Reference'
171(2)
5.2 Studies Concerning the Quality of Artificial Heads
173(7)
5.3 Summary and Conclusion Concerning the Studies of Artificial Heads
180(1)
References
180(3)
6 Some Thoughts on Subjective Listening Tests
183(28)
6.1 Basic Considerations Concerning Listening Tests
183(1)
6.2 Requirements for the Reproduction System; Consideration of Qualitative Parameters
184(2)
6.3 Further Factors Influencing Listener Perception
186(1)
6.4 Selection of Appropriate Sound Attributes
187(5)
6.5 A Few Thoughts on `Calibrating' Test Listeners and ANOVA
192(1)
6.6 Recording of Program Material for 5.1 Surround at the Salzburg Festival Hall
192(4)
6.6.1 Program Material and Venue Acoustics for the Orchestral Recording Listening Test
196(1)
6.6.2 Program Material and Venue Acoustics for the Duo Recording Listening Test
196(1)
6.7 Subjective Listening Test with 5.1 Surround Loudspeaker Reproduction
196(4)
6.7.1 Listening Test ORCHestral Recording in 5.1 Surround
199(1)
6.7.2 Listening Test DUO Recording in 5.1 Surround
199(1)
6.7.3 Duration of the Orchestral and DUO Listening Tests and Listening Room Acoustics
199(1)
6.8 Subjective Listening Test (Binaural) with Headphone Reproduction
200(2)
6.8.1 Choice of Headphones for the Binaural Listening Test
201(1)
6.9 Analysis of the Listening Tests
202(5)
6.9.1 Statistical Analysis of the Orchestral Recording `5.1 Surround' Listening Test
202(1)
6.9.2 Statistical Analysis of the Orchestral Recording `binaural' Listening Test
203(2)
6.9.3 Comparison of the Analysis Results `ORCH 5.1' and `ORCH Binaural'
205(1)
6.9.4 Statistical Analysis of the DUO Recording `5.1 Surround' Listening Test
206(1)
6.10 Correlation Analysis of the Listening Test Data
207(1)
References
208(3)
7 Analysis of Frequency-Dependent Signal Correlation and Coherence in Surround Microphone Systems
211(34)
7.1 Measurement of the Frequency-Dependent Cross-Correlation (FCC) and Frequency-Dependent Inter-aural Cross-Correlation (FIACC)
212(5)
7.2 Measurement of the Frequency-Dependent Signal Coherence
217(5)
7.3 Pair-wise Analysis of Correlation and Coherence with Surround Microphone Signals
222(17)
7.4 Conclusions
239(4)
7.4.1 Thoughts on Diffuse-Field Correlation (DFC)
240(3)
References
243(2)
8 Analysis of Frequency-Dependent Signal Cross-correlation (FCC) in Stereo Microphone Systems
245(20)
8.1 Calculation of the `Critical Frequency' in Small AB Microphone Systems
247(1)
8.2 Calculation of the `Out-of-Phase Maximum Frequency'
248(2)
8.3 Comparison of the FCC and FIACC of Various Stereophonic Microphone Techniques
250(9)
8.4 Conclusions, Further Analysis and Literature
259(3)
References
262(3)
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(64)
9.1 Stereo Microphone Techniques
266(23)
9.1.1 Coincident XY with Cardioids and Hyper-cardioids
269(1)
9.1.2 Coincident XY with Figure-of-Eights (Blumlein-Pair)
270(2)
9.1.3 Small Versus Large AB--Revisited
272(4)
9.1.4 Microphone Technique, Reverberation Radius and Frequency-Dependent Radiation Patterns of Musical Instruments
276(7)
9.1.5 Ranking of a Few of the Most Common Stereo Main Microphone Techniques
283(6)
9.2 Surround Microphone Techniques
289(37)
9.2.1 Comparative Surround Microphone Tests
301(23)
9.2.2 A Final Ranking for Several Common 5.1 Surround Microphone Techniques
324(2)
References
326(3)
10 Binaural Quality Index of Reproduced Music (BQIrep)
329(8)
10.1 Conclusion
334(1)
References
335(2)
11 A Short History of Microphone Techniques and a Few Case Studies
337(54)
11.1 The Early Beginnings of `Stereophonic Sound'
337(7)
11.2 DECCA-tree
344(11)
11.3 RCA `Living Stereo' Recordings
355(14)
11.4 MERCURY' Living Presence'
369(1)
11.5 A Few Case Studies of Live and Studio Recordings with Orchestra (and Solo-Instruments)
370(5)
11.6 Solo-Piano Microphone Techniques
375(4)
11.7 Studio Ensemble Recordings with Acoustic Instruments
379(7)
11.8 Work Practice Recommendations
386(2)
References
388(3)
Appendix A 391(4)
Appendix B Reference-Email No. 1 Concerning OCT-Surround (by Cornelius van der Gragt) 395(2)
Appendix C The MAAT "2BC multiCORR" Cross-Correlation Meter Plug-In 397(10)
Index 407
Edwin Pfanzagl-Cardone is head-of-sound at the acoustics department of the "Salzburg Festival" of classical music in Austria. After completing his degree in Electronics Engineering and Information Technology at TGM, he graduated from the "University of Music and Performing Arts" in Vienna in 1991, and received a Tonmeister (Sound Master) degree. In 2000, he completed his M.A. in Audio Production at the University of Westminster, London. In 2011, he received his PhD in Musical Acoustics and Psychoacoustics from KUG - University of Music and Performing Arts, Graz, Austria. Since the early 1990s, he has been working as a sound engineer for music recording and live sound reinforcement, and for film and TV, mainly in Europe, but also in Japan and the United States. As an arranger and composer, he has released recordings with BMG and SONY in the field of pop music, and has provided content for international library-music labels, and for radio and TV commercials. Author of AES and VDT-convention preprints, Dr. Pfanzagl-Cardone has published more than 60 articles in magazines for sound engineers, such as Pro Sound News Europe, Studio Sound, Media Biz, and Prospect. Since March 2010, he has been teaching Sound Reinforcement Technology at the Faculty of Design, Media and Arts at the University of Applied Sciences in Salzburg. As a composer he has released four international CDs. In addition to several hundred archival recordings for the Salzburg Festival, his discography as a sound engineer consists of about thirty CDs and three LPs with music labels such as Deutsche Grammophon and Orfeo. He is the inventor of three microphone techniques: the AB-Polycardioid Centerfill (AB-PC), the ORTF-Triple (ORTF-T) and the Blumlein-Pfanzagl-Triple (BPT), and holds a patent in surround microphone technology.
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