Spatial Sound
Spatial sound is an enhanced and immersive set of audio techniques which provides sound in three-dimensional virtual space. This comprehensive handbook sets out the basic principles and methods with a representative group of applications: sound field and spatial hearing; principles and analytic methods of various spatial sound systems, including two-channel stereophonic sound, and multichannel horizontal and spatial surround sound; Ambisonics; wavefield synthesis; binaural playback and virtual auditory display; recording and synthesis, and storage and transmission of spatial sound signals; and objective and subjective evaluation. Applications range from cinemas to small mobile devices.
•The only book to review spatial sound principles and applications extensively
•Covers the whole field of spatial sound
The book suits researchers, graduate students, and specialist engineers in acoustics, audio, and signal processing.
Bosun Xie was born in Guangzhou, China, in 1960. He received a Bachelor’s degree in physics and a Master of Science degree in acoustics from the South China University of Technology in 1982 and 1987, respectively. In 1998, he received a Doctor of Science degree in acoustics from Tongji University.
Since 1982, he has been working at the South China University of Technology and is currently the director and a professor at Acoustic Lab., School of Physics and Optoelectronics. He is also a member of the State Key Lab of Subtropical Building Science. His research interests include binaural hearing, spatial sound, acoustic signal processing, room acoustics, the relation between modern physics and classical acoustics. He has published a book entitled “Head-related transfer function and virtual auditory display” and over 300 scientific papers. He owns 20 patents in audio fields. His personal interest is in classical music, particularly classical opera.
He is the vice-president of the Acoustical Society of China (2014–2022), a member of the Audio Engineering Society (AES), and a member of the Acoustical Society of America (ASA).
Spatial Sound
Principles and Applications
Bosun Xie
First (Chinese) edition published 2019 by the Science Press (Beijing China 2019). Second (English) edition published 2023
by CRC Press
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© 2023 Bosun Xie
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ISBN: 978-0-367-53344-1 (hbk)
ISBN: 978-0-367-53345-8 (pbk)
ISBN: 978-1-003-08150-0 (ebk)
DOI: 10.1201/9781003081500
Typeset in Sabon
by SPi Technologies India Pvt Ltd (Straive)
Contents
Preface |
xv |
Introduction |
xix |
1 Sound field, spatial hearing, and sound reproduction |
1 |
1.1Spatial coordinate systems 1
1.2Sound fields and their physical characteristics 3
1.2.1Free-field and sound waves generated by simple sound sources 3
1.2.2Reflections from boundaries 7
1.2.3Directivity of sound source radiation 9
1.2.4Statistical analysis of acoustics in an enclosed space 12
1.2.5Principle of sound receivers 15
1.3Auditory system and perception 20
1.3.1Auditory system and its functions 20
1.3.2Hearing threshold and loudness 23
1.3.3Masking 24
1.3.4Critical band and auditory filter 25
1.4Artificial head models and binaural signals 27
1.4.1Artificial head models 27
1.4.2Binaural signals and head-related transfer functions 29
1.5Outline of spatial hearing 31
1.6Localization cues for a single sound source 33
1.6.1Interaural time difference 33
1.6.2Interaural level difference 36
1.6.3Cone of confusion and head movement 38
1.6.4Spectral cues 40
1.6.5Discussion on directional localization cues 42
1.6.6Auditory distance perception 44
1.7Summing localization and spatial hearing with multiple sources 46
1.7.1Summing localization with two sound sources 47
1.7.2The precedence effect 50
1.7.3Spatial auditory perceptions with partially correlated and uncorrelated source signals 52
1.7.4Auditory scene analysis and spatial hearing 55
1.7.5Cocktail party effect 56
v
vi Contents
1.8Room reflections and auditory spatial impression 56
1.8.1Auditory spatial impression 56
1.8.2Sound field-related measures and auditory spatial impression 58
1.8.3Binaural-related measures and auditory spatial impression 59
1.9Principle, classification, and development of spatial sound 61
1.9.1Basic principle of spatial sound 61
1.9.2Classification of spatial sound 63
1.9.3Developments and applications of spatial sound 64
1.10Summary 68
2 Two-channel stereophonic sound |
71 |
2.1Basic principle of a two-channel stereophonic sound 71
2.1.1Interchannel level difference and summing localization equation 71
2.1.2Effect of frequency 76
2.1.3Effect of interchannel phase difference 77
2.1.4Virtual source created by interchannel time difference 83
2.1.5Limitation of two-channel stereophonic sound 83
2.2Microphone and signal simulation techniques for two-channel stereophonic sound 86
2.2.1XY microphone pair 87
2.2.2MS transformation and the MS microphone pair 96
2.2.3Spaced microphone technique 104
2.2.4Near-coincident microphone technique 107
2.2.5Spot microphone and pan-pot technique 111
2.2.6Discussion on microphone and signal simulation techniques for two-channel stereophonic sound 113
2.3Upmixing and downmixing between two-channel stereophonic and mono signals 115
2.4Two-channel stereophonic reproduction 117
2.4.1Standard loudspeaker configuration of two-channel stereophonic sound 117
2.4.2Influence of front-back deviation of the head 118
2.4.3Influence of lateral translation of the head and off-center compensation 120
2.5Summary 123
3 Basic principles and analysis of multichannel surround sound |
125 |
3.1Physical and psychoacoustic principles of multichannel surround sound 125
3.2Summing localization in multichannel horizontal surround sound 130
3.2.1Summing localization equations for multiple horizontal loudspeakers 130
3.2.2Analysis of the velocity and energy localization vectors of the superposed sound field 134
3.2.3Discussion on horizontal summing localization equations 141
3.3Multiple loudspeakers with partly correlated and low-correlated signals 143
3.4Summary 144
|
Contents vii |
|
|
4 Multichannel horizontal surround sound with a regular loudspeaker |
|
configuration |
147 |
4.1Discrete quadraphone 148
4.1.1Outline of the quadraphone 148
4.1.2Discrete quadraphone with pair-wise amplitude panning 149
4.1.3Discrete quadraphone with the first-order sound field signal mixing 153
4.1.4Some discussions on discrete quadraphones 157
4.2Other horizontal surround sounds with regular loudspeaker configurations 158
4.2.1Six-channel reproduction with pair-wise amplitude panning 158
4.2.2The first-order sound field signal mixing and reproduction with M≥3 loudspeakers 162
4.3Transformation of horizontal sound field signals and Ambisonics 164
4.3.1Transformation of the first-order horizontal sound field signals 165
4.3.2The first-order horizontal Ambisonics 170
4.3.3The higher-order horizontal Ambisonics 176
4.3.4Discussion and implementation of the horizontal Ambisonics 184
4.4Summary 187
5 Multichannel horizontal surround sound with irregular loudspeaker |
|
configuration |
189 |
5.1Outline of surround sounds with accompanying picture and general uses 189
5.25.1-Channel surround sound and its signal mixing analysis 192
5.2.1Outline of 5.1-channel surround sound 192
5.2.2Pair-wise amplitude panning for 5.1-channel surround sound 193
5.2.3Global Ambisonic-like signal mixing for 5.1-channel sound 199
5.2.4Optimization of three frontal loudspeaker signals and local Ambisonic-like signal mixing 206
5.2.5Time panning for 5.1-channel surround sound 208
5.3Other multichannel horizontal surround sounds 209
5.4Low-frequency effect channel 212
5.5Summary 213
6 Multichannel spatial surround sound |
215 |
6.1Summing localization in multichannel spatial surround sound 215
6.1.1Summing localization equations for spatial multiple loudspeaker configurations 215
6.1.2Velocity and energy localization vector analysis for multichannel spatial surround sound 219
6.1.3Discussion on spatial summing localization equations 221
6.1.4Relationship with the horizontal summing localization equations 222
6.2Signal mixing methods for a pair of vertical loudspeakers in the median and sagittal plane 225
6.3Vector base amplitude panning 231
6.4Spatial Ambisonic signal mixing and reproduction 233
viii Contents
6.4.1Principle of spatial Ambisonics 233
6.4.2Some examples of the first-order spatial Ambisonics 238
6.4.3Local Ambisonic-like signal mixing for vertical loudspeaker configuration 241
6.4.4Recreating a top virtual source with a horizontal loudspeaker arrangement and Ambisonic signal mixing 243
6.5Advanced multichannel spatial surround sounds and problems 243
6.5.1Some advanced multichannel spatial surround sound techniques and systems 243
6.5.2Object-based spatial sound 248
6.5.3Some problems related to multichannel spatial surround sound 250
6.6Summary 253
7 Microphone and signal simulation techniques for multichannel sound |
255 |
7.1Basic considerations on the microphone and signal simulation techniques for multichannel sounds 255
7.2Microphone techniques for 5.1-channel sound recording 258
7.2.1Outline of microphone techniques for 5.1-channel sound recording 258
7.2.2Main microphone techniques for 5.1-channel sound recording 258
7.2.3Microphone techniques for the recording of three frontal channels 264
7.2.4Microphone techniques for ambience recording and combination with frontal localization information recording 269
7.2.5Stereophonic plus center channel recording 273
7.3Microphone techniques for other multichannel sounds 274
7.3.1Microphone techniques for other discrete multichannel sounds 274
7.3.2Microphone techniques for Ambisonic recording 278
7.4Simulation of localization signals for multichannel sounds 280
7.4.1Methods of the simulation of directional localization signals 280
7.4.2Simulation of virtual source distance and extension 282
7.4.3Simulation of a moving virtual source 284
7.5Simulation of reflections for stereophonic and multichannel sounds 286
7.5.1Delay algorithms and discrete reflection simulation 287
7.5.2IIR filter algorithm of late reverberation 291
7.5.3FIR, hybrid FIR, and recursive filter algorithms of late reverberation 296
7.5.4Algorithms of audio signal decorrelation 298
7.5.5Simulation of room reflections based on physical measurement and calculation 300
7.6Directional audio coding and multichannel sound signal synthesis 302
7.7Summary 307
8 Matrix surround sound and downmixing/upmixing of multichannel |
|
sound signals |
309 |
8.1Matrix surround sound 309
8.1.1Matrix quadraphone 309
8.1.2Dolby surround system 314
8.1.3Dolby pro-logic decoding technique 316
Contents ix
8.1.4Some developments on matrix surround sound and logic decoding techniques 317
8.2Downmixing of multichannel sound signals 322
8.3Upmixing of multichannel sound signals 325
8.3.1Some considerations in upmixing 325
8.3.2Simple upmixing methods for front-channel signals 327
8.3.3Simple methods for ambient component separation 328
8.3.4Model and statistical characteristics of two-channel stereophonic signals 329
8.3.5A scale-signal-based algorithm for upmixing 332
8.3.6Upmixing algorithm based on principal component analysis 334
8.3.7Algorithm based on the least mean square error for upmixing 342
8.3.8Adaptive normalized algorithm based on the least mean square for upmixing 344
8.3.9Some advanced upmixing algorithms 346
8.4Summary 347
9 Physical analysis of multichannel sound field recording and |
|
reconstruction |
349 |
9.1Each order approximation of ideal reproduction and Ambisonics 350
9.1.1Each order approximation of ideal horizontal reproduction 350
9.1.2Each order approximation of ideal three-dimensional reproduction 357
9.2General formulation of multichannel sound field reconstruction 359
9.2.1General formulation of multichannel sound field reconstruction in the spatial domain 359
9.2.2Formulation of spatial-spectral domain analysis of circular secondary source array 362
9.2.3Formulation of spatial-spectral domain analysis for a secondary source array on spherical surface 368
9.3Spatial-spectral domain analysis and driving signals of Ambisonics 372
9.3.1Reconstructed sound field of horizontal Ambisonics 372
9.3.2Reconstructed sound field of spatial Ambisonics 378
9.3.3Mixed-order Ambisonics 382
9.3.4Near-field compensated higher-order Ambisonics 384
9.3.5Ambisonic encoding of complex source information 392
9.3.6Some special applications of spatial-spectral domain analysis of Ambisonics 395
9.4Some problems related to Ambisonics 397
9.4.1Secondary source array and stability of Ambisonics 397
9.4.2Spatial transformation of Ambisonic sound field 401
9.5Error analysis of Ambisonic-reconstructed sound field 408
9.5.1Integral error of Ambisonic-reconstructed wavefront 408
9.5.2Discrete secondary source array and spatial-spectral aliasing error in Ambisonics 412
9.6Multichannel reconstructed sound field analysis in the spatial domain 415
9.6.1Basic method for analysis in the spatial domain 415
x Contents
9.6.2Minimizing error in reconstructed sound field and summing localization equation 415
9.6.3Multiple receiver position matching method and its relation to the mode-matching method 418
9.7Listening room reflection compensation in multichannel sound reproduction 425
9.8Microphone array for multichannel sound field signal recording 427
9.8.1Circular microphone array for horizontal Ambisonic recording 428
9.8.2Spherical microphone array for spatial Ambisonic recording 430
9.8.3Discussion on microphone array recording 434
9.9Summary 436
10 Spatial sound reproduction by wave field synthesis |
439 |
10.1Basic principle and implementation of wave field synthesis 439
10.1.1Kirchhoff–Helmholtz boundary integral and WFS 439
10.1.2Simplification of the types of secondary sources 442
10.1.3WFS in a horizontal plane with a linear array of secondary sources 444
10.1.4Finite secondary source array and effect of spatial truncation 448
10.1.5Discrete secondary source array and spatial aliasing 450
10.1.6Some issues and related problems on WFS implementation 452
10.2General theory of WFS 455
10.2.1Green’s function of Helmholtz equation 455
10.2.2General theory of three-dimensional WFS 459
10.2.3General theory of two-dimensional WFS 463
10.2.4Focused source in WFS 467
10.3Analysis of WFS in the spatial-spectral domain 471
10.3.1General formulation and analysis of WFS in the spatial-spectral domain 471
10.3.2Analysis of the spatial aliasing in WFS 474
10.3.3Spatial-spectral division method of WFS 479
10.4Further discussion on sound field reconstruction 482
10.4.1Comparison among various methods of sound field reconstruction 482
10.4.2Further analysis of the relationship between acoustical holography and sound field reconstruction 484
10.4.3Further analysis of the relationship between acoustical holography and Ambisonics 489
10.4.4Comparison between WFS and Ambisonics 490
10.5Equalization of WFS under nonideal conditions 493
10.6Summary 495
11 Binaural reproduction and virtual auditory display |
497 |
11.1Basic principles of binaural reproduction and virtual auditory display 498
11.1.1Binaural recording and reproduction 498
11.1.2Virtual auditory display 499
11.2Acquisition of HRTFs 501
11.2.1HRTF measurement 501
Contents xi
11.2.2HRTF calculation 504
11.2.3HRTF customization 506
11.3Basic physical features of HRTFs 507
11.3.1Time-domain features of far-field HRIRs 507
11.3.2Frequency domain features of far-field HRTFs 507
11.3.3Features of near-field HRTFs 510
11.4HRTF-based filters for binaural synthesis 511
11.5Spatial interpolation and decomposition of HRTFs 513
11.5.1Directional interpolation of HRTFs 513
11.5.2Spatial basis function decomposition and spatial sampling theorem of HRTFs 515
11.5.3HRTF spatial interpolation and signal mixing for multichannel sound 520
11.5.4Spectral shape basis function decomposition of HRTFs 524
11.6Simplification of signal processing for binaural synthesis 527
11.6.1Virtual loudspeaker-based algorithms 527
11.6.2Basis function decomposition-based algorithms 530
11.7Equalization of the characteristics of headphone-to-ear canal transmission 533
11.7.1Principle of headphone equalization 533
11.7.2Some problems with binaural reproduction and VAD 537
11.8Binaural reproduction through loudspeakers 539
11.8.1Basic principle of binaural reproduction through loudspeakers 539
11.8.2Virtual source distribution in two-front loudspeaker reproduction 543
11.8.3Head movement and stability of virtual sources in transaural reproduction 544
11.8.4Timbre coloration and equalization in transaural reproduction 546
11.9Virtual reproduction of stereophonic and multichannel surround sound 547
11.9.1Binaural reproduction of stereophonic and multichannel sound through headphones 547
11.9.2Stereophonic expansion and enhancement 551
11.9.3Virtual reproduction of multichannel sound through loudspeakers 553 11.10 Rendering system for dynamic and real-time virtual auditory environments 557
11.10.1Binaural room modeling 557
11.10.2Dynamic virtual auditory environments system 558
11.11Summary 561
12 Binaural pressures and auditory model analysis of spatial |
|
sound reproduction |
563 |
12.1Physical analysis of binaural pressures in summing virtual source and auditory events 563
12.1.1Evaluation of binaural pressures and localization cues 563
12.1.2Method for summing localization analysis 568
12.1.3Binaural pressure analysis of stereophonic and multichannel sound with amplitude panning 570
12.1.4Analysis of summing localization with interchannel time difference 575
xii Contents
12.1.5Analysis of summing localization at the off-central listening position 578
12.1.6Analysis of interchannel correlation and spatial auditory sensations 582
12.2Binaural auditory models and analysis of spatial sound reproduction 586
12.2.1Analysis of lateral localization by using auditory models 586
12.2.2Analysis of front-back and vertical localization by using a binaural auditory model 590
12.2.3Binaural loudness models and analysis of the timbre of spatial sound reproduction 591
12.3Binaural measurement system for assessing spatial sound reproduction 596
12.4Summary 597
13 Storage and transmission of spatial sound signals |
599 |
13.1Analog audio storage and transmission 600
13.1.145°/45° Disk recording system 600
13.1.2Analog magnetic tape audio recorder 601
13.1.3Analog stereo broadcasting 602
13.2Basic concepts of digital audio storage and transmission 604
13.3Quantization noise and shaping 606
13.3.1Signal-to-quantization noise ratio 606
13.3.2Quantization noise shaping and 1-bit DSD coding 607
13.4Basic principle of digital audio compression and coding 611
13.4.1Outline of digital audio compression and coding 611
13.4.2Adaptive differential pulse-code modulation 613
13.4.3Perceptual audio coding in the time-frequency domain 615
13.4.4Vector quantization 618
13.4.5Spatial audio coding 619
13.4.6Spectral band replication 621
13.4.7Entropy coding 621
13.4.8Object-based audio coding 621
13.5MPEG Series of audio coding techniques and standards 622
13.5.1MPEG-1 audio coding technique 623
13.5.2MPEG-2 BC audio coding 626
13.5.3MPEG-2 advanced audio coding 627
13.5.4MPEG-4 audio coding 630
13.5.5MPEG parametric coding of multichannel sound and unified speech and audio coding 631
13.5.6MPEG-H 3D audio 634
13.6Dolby Series of coding techniques 637
13.6.1Dolby digital coding technique 638
13.6.2Some advanced Dolby coding techniques 641
13.7DTS Series of coding technique 645
13.8MLP Lossless coding technique 647
13.9ATRAC technique 649
13.10Audio video coding standard 650
Contents xiii
13.11Optical disks for audio storage 651
13.11.1Structure, principle, and classification of optical disks 651
13.11.2CD family and its audio formats 653
13.11.3DVD family and its audio formats 656
13.11.4SACD and its audio formats 659
13.11.5BD and its audio formats 660
13.12Digital radio and television broadcasting 661
13.12.1Outline of digital radio and television broadcasting 661
13.12.2Eureka-147 digital audio broadcasting 662
13.12.3Digital radio mondiale 664
13.12.4In-band on-channel digital audio broadcasting 664
13.12.5Audio for digital television 665
13.13Audio storage and transmission by personal computer 665
13.14Summary 666
14 Acoustic conditions and requirements for the subjective assessment and |
|
monitoring of spatial sound |
669 |
14.1Outline of acoustic conditions and requirements for spatial sound intended for domestic reproduction 669
14.2Acoustic consideration and design of listening rooms 670
14.3Arrangement and characteristics of loudspeakers 673
14.3.1Arrangement of the main loudspeakers in listening rooms 673
14.3.2Characteristics of the main loudspeakers 674
14.3.3Bass management and arrangement of subwoofers 676
14.4Signal and listening level alignment 679
14.5Standards and guidance for conditions of spatial sound reproduction 680
14.6Headphones and binaural monitors of spatial sound reproduction 685
14.7Acoustic conditions for cinema sound reproduction and monitoring 685
14.8Summary 689
15 Psychoacoustic and subjective assessment experiments on spatial sound |
691 |
15.1Outline of psychoacoustic and subjective assessment experiments 691
15.2Contents and attributes for spatial sound assessment 694
15.3Auditory comparison and discrimination experiment 698
15.3.1Paradigms of auditory comparison and discrimination experiment 698
15.3.2Examples of auditory comparison and discrimination experiment 699
15.4Subjective assessment of small impairments in spatial sound systems 700
15.5Subjective assessment of a spatial sound system with intermediate quality 702
15.6Virtual source localization experiment 704
15.6.1Basic methods for virtual source localization experiments 704
15.6.2Preliminary analysis of the results of virtual source localization experiments 705
15.6.3Some results of virtual source localization experiments 708
15.7Summary 710
xiv Contents
16 Applications of spatial sound and related problems |
711 |
16.1Applications to commercial cinema, domestic reproduction, and automotive audio 711
16.1.1Application to commercial cinema and related problems 711
16.1.2Applications to domestic reproduction and related problems 715
16.1.3Applications to automobile audio 718
16.2Applications to virtual reality, communications, multimedia, and mobile devices 719
16.2.1Applications to virtual reality 719
16.2.2Applications to communication and information systems 720
16.2.3Applications to multimedia 722
16.2.4Applications to mobile and handheld devices 722
16.3Applications to the scientific experiments of spatial hearing and psychoacoustics 724
16.4Applications to sound field auralization 726
16.4.1Auralization in room acoustics 726
16.4.2Other applications of auralization technique 729
16.5Applications to clinical medicine 729
16.6Summary 731
Appendix A: Spherical harmonic functions |
733 |
Appendix B: Some statistical methods for the data of psychoacoustic |
|
and subjective assessment experiments |
741 |
References |
747 |
Index |
787 |
Preface
In addition to vision, hearing is a means for humans to acquire external information. Human hearing can perceive not only the loudness, pitch, and timbre of sound but also the spatial attributes of sound. With spatial auditory perception, we can localize a sound source and create spatial auditory sensations of the environment.
Spatial sound or spatial audio aims to record (or simulate), transmit (or store), reproduce the spatial information of a sound field, and recreate the desired spatial auditory events or perceptions. Spatial sound is traditionally applicable to cinema and domestic sound reproductions. Recently, spatial sounds have been increasingly applied to wide fields of scientific research and engineering, such as psychoacoustic and physiological acoustic experiments, room acoustic designs, communication, computers and the internet, multimedia, and virtual reality.
Spatial sound has a long history dating back to more than 100 years ago. Since the 1930s, spatial sound techniques have been developed and used for practical application through the combination of acoustics and electronics. Since the 1990s, computer and digital signal processing techniques have further enabled spatial sound to develop quickly. There have been numerous scientific and technical studies on spatial sound. Various spatial sound techniques based on different physical and auditory principles have developed, and some of these techniques have been widely used.
In China, research on spatial sound began in 1958. Especially, the group at the South China University of Technology has conducted a series of fundamental and application studies on this field. Since 2010, spatial sound has gradually received attention in China, and some other groups have conducted relevant work.
From the point of scientific research, spatial sound is an interdiscipline dealing with acoustics (physics), psychology, and physiology of hearing, electronics and signal processing, computers, and even the art of music. Physical and auditory analysis of a sound field is the foundation of spatial sound. Signal processing, electronics, electroacoustic devices, and instruments are technical means for implementing spatial sound. With wide applications, spatial sound has been an active field in audio and signal processing and is still developing quickly. The development of spatial sound deals with both fundamental and application studies.
Internationally, special topics on spatial sound have been covered in some books, such as Spatial Hearing by Prof. Blauert (1997), Analytic Methods of Sound Field Synthesis by Dr. Jens Ahrens (2012), Ambisonics by Dr. Franz Zotter and Matthias Frank (2019), Sound Visualization and Manipulation by Profs. Yang-Hann Kim and Jung-Woo Choi (2013), and 3D Sound for Virtual Reality and Multimedia by Dr. Duran R. Begault (1994). The author of the present book previously wrote a book entitled Head-related Transfer Function and Virtual Auditory Display (Chinese edition in 2008 and English edition in 2013). However,
xv
xvi Preface
books that cover relatively complete topics on spatial sound are rare. The only book is Spatial Audio by Prof.Francis Rumsey (2001), which is one of the series books intended to support college and university courses in music technology, sound recording, multimedia, and their related fields. In fact, writing a book that covers most aspects of the principle and applications of spatial sound is difficult because of the long history, extensive contents, and quick development in this field.
Prof. Xinfu Xie at the South China University of Technology wrote a book entitled The Principle of Stereo Sound in 1981. It reviewed and summarized the main international works on spatial sound before the end of the 1970s and contributed to the development of spatial sound in China. However, the book by Prof. XinfuXie was a Chinese edition and published in more than 40 years ago. During the past 40 years, especially since 1990, spatial sound has been developed greatly. Current spatial sound techniques differ considerably from those in 1970 in many aspects of basic physical, auditory principles, and technical means. Therefore, a book on the principles and applications of spatial sound should be rewritten.
The present book systematically states the basic principles and applications of spatial sound and reviews the latest development, especially those from the author’s research group. The book focuses on the physical and auditory principles of spatial sound. Another major purpose of the present book is to reveal that various spatial sound techniques are unified under the theoretical framework of spatial function sampling, interpolation, and reconstruction. The original Chinese edition was published by the Science Press (Beijing) in 2019. The present English edition is formed mainly from the Chinese edition with amendments, including the most recent developments from 2019 to 2021.
The book consists of 16 chapters, covering the main issues in the research of spatial sound. Chapter 1 presents the essential principles and concepts of sound field, spatial hearing, and sound reproduction to provide readers with sufficient background information for elaborating the succeeding chapters. Chapter 2 describes the basic principles and some issues related to the applications of two-channel stereophonic sound. Chapters 3–6 discusses the basic principles and traditional analysis of various multichannel horizontal and spatial surround sounds in detail. Chapter 7 presents the methods of microphone and signal simulation techniques for multichannel sounds. Chapter 8 discusses the matrix surround sound and downmixing/upmixing of multichannel sound signals. Chapters 9 and 10 address the principles and methods of physical sound field analysis and reconstruction and discuss the principles of Ambisonics and wave field synthesis in detail. Chapter 11 describes the principle and method of binaural reproduction and virtual auditory display. Chapter 12 presents the method of binaural pressures and auditory model analysis of spatial sound reproduction. Chapters 13–15 discuss some issues related to the application of spatial sounds, including signal storage and transmission, acoustic conditions, requirements and methods for subjective assessment and monitoring. Chapter 16 outlines some representative applications of spatial sound. In addition, two appendices briefly introduce some mathematical tools for the analysis in the main text. The present book lists more than 1000 references at the end, representing the main body of literature in this field.
The present book intends to provide the necessary knowledge and latest results to researchers, graduate students, and engineers who work in the field of spatial sound. Readers can become familiar with the frontier of the field after reading and undertake the corresponding scientific research or technical development work. Because this field is interdisciplinary, reading this book needs some prior understanding of acoustics and signal processing. The References section provides relevant references about previous studies.
The publication of the present book is supported by the National Nature Science Fund of China (12174118) and the National Key Research and Development Program of China (2018YFB1403800). The relevant studies on spatial sound by the author and our group
Preface xvii
have been supported by a series of grants from the National Nature Science Fund of China (11674105, 19974012, 10374031, 10774049, 11174087, 50938003, 11004064, 11474103, 11574090, and 11104082), the Ministry of Education of China for outstanding young teachers, Guangzhou Science and Technology plan projects (98-J-010-01, 2011DH014, and 2014- Y2-00021), the State Key Lab of Subtropical Building Science, South China University of Technology., South China University of Technology, where the author works, has also provided enormous supports.
With more than 20 years of research experience, Prof. Shanqun Guan, working at the Beijing University of Posts and Telecommunications, has generously provided many guidance and suggestions. The author has also received long-term help and support from Prof. Zuomin Wang, the author’s PhD advisor, at Tongji University since the mid-1990s.
The author is especially indebted to Profs. Guangzhen Yu, Xiaoli Zhong, Zhiwen Xie, and Drs. Dan Rao and Qinglin Meng at the South China University of Technology, Dr. Chengyun Zhang at Guangzhou University, and all graduate students who provided support and cooperation. The author also expresses gratitude to Prof. Guangzheng Yu for preparing all figures, Dr. Qinglin Meng for revising the English translation, and PhD students, namely, Haiming Mai, Jianliang Jiang, Kailin Yi, Lulu Liu, Tong Zhao, Jun Zhu, Wenjie Ding, and Shanwen Du, for their help in checking the references and proof of the book.
Many colleagues also provided the author with various kinds of support and help during the author’s research work, particularly Prof. Jens Blauert at Ruhr-University Bochum; Prof. Ning Xiang at Rensselaer Polytechnic Institute; Profs. Shuoxian Wu and Yuezhe Zhao at the School of Architecture, South China University of Technology; Profs. Jian Zhong, Hao Shen, Mingkun Cheng, Jun Yang, Xiaodong Li, Yonghong Yan, and Junfeng Li at the Institute of Acoustics at the China Academy of Sciences; Profs. Jianchun Cheng, Boling Xu, Xiaojun Qiu, Yong Shen, Xiaojun Liu, and Jin Lu at Nanjing University; Prof. Dongxing Mao and Dr. Wuzhou Yu at Tongji University; Prof. Changcai Long at the Huazhong University of Science and Technology; Prof. Dean Ta at Fudan University; Prof. Hairong Zheng at the Shenzhen Institute of Advanced Technology, Chinese Academy Science; Profs. Baoyuan Fan and Jingang Yang, Senior Engineers Jincai Wu and Houqiong Zhong at The Third Research Institute of China Electronics Technology Group Company and Senior Engineer Jinyuan Yu at Guoguang Electric Co., Ltd.; Senior Engineer Jiakun Qi at Wuhan Wireless Power Plant Co., Ltd.; and Mr. Heng Wang at Guangzhou DSPPA Audio Co., Ltd. The CRC Press, especially Mr. Tony Moore, Frazer Merritt, Aimee Wragg, Vasudevan Thivya and Anya Hastwell made enormous work on the publication of the present book.
The author would like to thank the abovementioned units and individuals.
The author’s parents, Profs. Xingfu Xie and Shujuan Liang, were also acoustical researchers, who cultivated the author’s enthusiasm for acoustics. The author’s mother also gave great support during the preparation of the present book in 2009. The present book is in memory of the author’s parents who have since passed away.
