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Subjective evaluation and electroaco...

Usher, John S.

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Subjective evaluation and electroacoustic theoretical validation of a new approach to audio upmixing.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Subjective evaluation and electroacoustic theoretical validation of a new approach to audio upmixing./
作者:	Usher, John S.
面頁冊數:	325 p.
附註:	Source: Dissertation Abstracts International, Volume: 68-05, Section: B, page: 3102.
Contained By:	Dissertation Abstracts International68-05B.
標題:	Physics, Acoustics. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=NR27853
ISBN:	9780494278536

Subjective evaluation and electroacoustic theoretical validation of a new approach to audio upmixing.
Usher, John S.

Subjective evaluation and electroacoustic theoretical validation of a new approach to audio upmixing. - 325 p.

Source: Dissertation Abstracts International, Volume: 68-05, Section: B, page: 3102.

Thesis (Ph.D.)--McGill University (Canada), 2006.

The objective and subjective evaluations combined with a comparative study with two commercial systems demonstrate that the proposed system provides a new, computationally practical, high sound quality solution to upmixing.

ISBN: 9780494278536Subjects--Topical Terms:

1019086
Physics, Acoustics.

Subjective evaluation and electroacoustic theoretical validation of a new approach to audio upmixing.
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245 1 0 $a Subjective evaluation and electroacoustic theoretical validation of a new approach to audio upmixing.
300 $a 325 p.
500 $a Source: Dissertation Abstracts International, Volume: 68-05, Section: B, page: 3102.
502 $a Thesis (Ph.D.)--McGill University (Canada), 2006.
520 $a The objective and subjective evaluations combined with a comparative study with two commercial systems demonstrate that the proposed system provides a new, computationally practical, high sound quality solution to upmixing.
520 $a Audio signal processing systems for converting two-channel (stereo) recordings to four or five channels are increasingly relevant. These audio upmixers can be used with conventional stereo sound recordings and reproduced with multichannel home theatre or automotive loudspeaker audio systems to create a more engaging and natural-sounding listening experience. This dissertation discusses existing approaches to audio upmixing for recordings of musical performances and presents specific design criteria for a system to enhance spatial sound quality. A new upmixing system is proposed and evaluated according to these criteria and a theoretical model for its behavior is validated using empirical measurements.
520 $a The new system removes short-term correlated components from two electronic audio signals using a pair of adaptive filters, updated according to a frequency domain implementation of the normalized-least-means-square algorithm. The major difference of the new system with all extant audio upmixers is that unsupervised time-alignment of the input signals (typically, by up to +/-10 ms) as a function of frequency (typically, using a 1024-band equalizer) is accomplished due to the non-minimum phase adaptive filter. Two new signals are created from the weighted difference of the inputs, and are then radiated with two loudspeakers behind the listener. According to the consensus in the literature on the effect of interaural correlation on auditory image formation, the self-orthogonalizing properties of the algorithm ensure minimal distortion of the frontal source imagery and natural-sounding, enveloping reverberance (ambiance) imagery.
520 $a Performance evaluation of the new upmix system was accomplished in two ways: Firstly, using empirical electroacoustic measurements which validate a theoretical model of the system; and secondly, with formal listening tests which investigated auditory spatial imagery with a graphical mapping tool and a preference experiment. Both electroacoustic and subjective methods investigated system performance with a variety of test stimuli for solo musical performances reproduced using a loudspeaker in an orchestral concert-hall and recorded using different microphone techniques.
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