An integrated analysis-synthesis array system for spatial sound fields.

An integrated recording and reproduction array system for spatial audio is presented within a generic framework akin to the analysis-synthesis filterbanks in discrete time signal processing. In the analysis stage, a microphone array "encodes" the sound field by using the plane-wave decomposition. Direction of arrival of plane-wave components that comprise the sound field of interest are estimated by multiple signal classification. Next, the source signals are extracted by using a deconvolution procedure. In the synthesis stage, a loudspeaker array "decodes" the sound field by reconstructing the plane-wave components obtained in the analysis stage. This synthesis stage is carried out by pressure matching in the interior domain of the loudspeaker array. The deconvolution problem is solved by truncated singular value decomposition or convex optimization algorithms. For high-frequency reproduction that suffers from the spatial aliasing problem, vector panning is utilized. Listening tests are undertaken to evaluate the deconvolution method, vector panning, and a hybrid approach that combines both methods to cover frequency ranges below and above the spatial aliasing frequency. Localization and timbral attributes are considered in the subjective evaluation. The results show that the hybrid approach performs the best in overall preference. In addition, there is a trade-off between reproduction performance and the external radiation.

Investigation on the reproduction performance versus acoustic contrast control in sound field synthesis.

A sound reconstruction system is proposed for audio reproduction with extended sweet spot and reduced reflections. An equivalent source method (ESM)-based sound field synthesis (SFS) approach, with the aid of dark zone minimization is adopted in the study. Conventional SFS that is based on the free-field assumption suffers from synthesis error due to boundary reflections. To tackle the problem, the proposed system utilizes convex optimization in designing array filters with both reproduction performance and acoustic contrast taken into consideration. Control points are deployed in the dark zone to minimize the reflections from the walls. Two approaches are employed to constrain the pressure and velocity in the dark zone. Pressure matching error (PME) and acoustic contrast (AC) are used as performance measures in simulations and experiments for a rectangular loudspeaker array. Perceptual Evaluation of Audio Quality (PEAQ) is also used to assess the audio reproduction quality. The results show that the pressure-constrained (PC) method yields better acoustic contrast, but poorer reproduction performance than the pressure-velocity constrained (PVC) method. A subjective listening test also indicates that the PVC method is the preferred method in a live room.