Publication

Obtaining Binaural Room Impulse Responses from B-Format Impulse Responses

2008
Conference Papers

Abstract

Given a set of head related transfer functions (HRTFs) and a room impulse response measured with a Soundfield microphone, the proposed technique computes binaural room impulse responses (BRIRs) which are similar to binaural room impulse responses that would be measured if in place of the Soundfield microphone, the dummy head used for the HRTF set was directly recording the BRIRs. The proposed technique enables that from a set of HRTFs corresponding BRIRs for different rooms are obtained without a need for the dummy head or person to be present for measurement.

Official source

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2008
Conference Papers

Abstract

Official source

Related concepts (11)

Binaural recording

Binaural recording is a method of recording sound that uses two microphones, arranged with the intent to create a 3-D stereo sound sensation for the listener of actually being in the room with the performers or instruments. This effect is often created using a technique known as dummy head recording, wherein a mannequin head is fitted with a microphone in each ear. Binaural recording is intended for replay using headphones and will not translate properly over stereo speakers.

Multitrack recording

Multitrack recording (MTR), also known as multitracking, is a method of sound recording developed in 1955 that allows for the separate recording of multiple sound sources or of sound sources recorded at different times to create a cohesive whole. Multitracking became possible in the mid-1950s when the idea of simultaneously recording different audio channels to separate discrete "tracks" on the same reel-to-reel tape was developed.

Ambisonics

Ambisonics is a full-sphere surround sound format: in addition to the horizontal plane, it covers sound sources above and below the listener. Unlike some other multichannel surround formats, its transmission channels do not carry speaker signals. Instead, they contain a speaker-independent representation of a sound field called B-format, which is then decoded to the listener's speaker setup. This extra step allows the producer to think in terms of source directions rather than loudspeaker positions, and offers the listener a considerable degree of flexibility as to the layout and number of speakers used for playback.