
- •Preface
- •Introduction
- •1.1 Spatial coordinate systems
- •1.2 Sound fields and their physical characteristics
- •1.2.1 Free-field and sound waves generated by simple sound sources
- •1.2.2 Reflections from boundaries
- •1.2.3 Directivity of sound source radiation
- •1.2.4 Statistical analysis of acoustics in an enclosed space
- •1.2.5 Principle of sound receivers
- •1.3 Auditory system and perception
- •1.3.1 Auditory system and its functions
- •1.3.2 Hearing threshold and loudness
- •1.3.3 Masking
- •1.3.4 Critical band and auditory filter
- •1.4 Artificial head models and binaural signals
- •1.4.1 Artificial head models
- •1.4.2 Binaural signals and head-related transfer functions
- •1.5 Outline of spatial hearing
- •1.6 Localization cues for a single sound source
- •1.6.1 Interaural time difference
- •1.6.2 Interaural level difference
- •1.6.3 Cone of confusion and head movement
- •1.6.4 Spectral cues
- •1.6.5 Discussion on directional localization cues
- •1.6.6 Auditory distance perception
- •1.7 Summing localization and spatial hearing with multiple sources
- •1.7.1 Summing localization with two sound sources
- •1.7.2 The precedence effect
- •1.7.3 Spatial auditory perceptions with partially correlated and uncorrelated source signals
- •1.7.4 Auditory scene analysis and spatial hearing
- •1.7.5 Cocktail party effect
- •1.8 Room reflections and auditory spatial impression
- •1.8.1 Auditory spatial impression
- •1.8.2 Sound field-related measures and auditory spatial impression
- •1.8.3 Binaural-related measures and auditory spatial impression
- •1.9.1 Basic principle of spatial sound
- •1.9.2 Classification of spatial sound
- •1.9.3 Developments and applications of spatial sound
- •1.10 Summary
- •2.1 Basic principle of a two-channel stereophonic sound
- •2.1.1 Interchannel level difference and summing localization equation
- •2.1.2 Effect of frequency
- •2.1.3 Effect of interchannel phase difference
- •2.1.4 Virtual source created by interchannel time difference
- •2.1.5 Limitation of two-channel stereophonic sound
- •2.2.1 XY microphone pair
- •2.2.2 MS transformation and the MS microphone pair
- •2.2.3 Spaced microphone technique
- •2.2.4 Near-coincident microphone technique
- •2.2.5 Spot microphone and pan-pot technique
- •2.2.6 Discussion on microphone and signal simulation techniques for two-channel stereophonic sound
- •2.3 Upmixing and downmixing between two-channel stereophonic and mono signals
- •2.4 Two-channel stereophonic reproduction
- •2.4.1 Standard loudspeaker configuration of two-channel stereophonic sound
- •2.4.2 Influence of front-back deviation of the head
- •2.5 Summary
- •3.1 Physical and psychoacoustic principles of multichannel surround sound
- •3.2 Summing localization in multichannel horizontal surround sound
- •3.2.1 Summing localization equations for multiple horizontal loudspeakers
- •3.2.2 Analysis of the velocity and energy localization vectors of the superposed sound field
- •3.2.3 Discussion on horizontal summing localization equations
- •3.3 Multiple loudspeakers with partly correlated and low-correlated signals
- •3.4 Summary
- •4.1 Discrete quadraphone
- •4.1.1 Outline of the quadraphone
- •4.1.2 Discrete quadraphone with pair-wise amplitude panning
- •4.1.3 Discrete quadraphone with the first-order sound field signal mixing
- •4.1.4 Some discussions on discrete quadraphones
- •4.2 Other horizontal surround sounds with regular loudspeaker configurations
- •4.2.1 Six-channel reproduction with pair-wise amplitude panning
- •4.2.2 The first-order sound field signal mixing and reproduction with M ≥ 3 loudspeakers
- •4.3 Transformation of horizontal sound field signals and Ambisonics
- •4.3.1 Transformation of the first-order horizontal sound field signals
- •4.3.2 The first-order horizontal Ambisonics
- •4.3.3 The higher-order horizontal Ambisonics
- •4.3.4 Discussion and implementation of the horizontal Ambisonics
- •4.4 Summary
- •5.1 Outline of surround sounds with accompanying picture and general uses
- •5.2 5.1-Channel surround sound and its signal mixing analysis
- •5.2.1 Outline of 5.1-channel surround sound
- •5.2.2 Pair-wise amplitude panning for 5.1-channel surround sound
- •5.2.3 Global Ambisonic-like signal mixing for 5.1-channel sound
- •5.2.4 Optimization of three frontal loudspeaker signals and local Ambisonic-like signal mixing
- •5.2.5 Time panning for 5.1-channel surround sound
- •5.3 Other multichannel horizontal surround sounds
- •5.4 Low-frequency effect channel
- •5.5 Summary
- •6.1 Summing localization in multichannel spatial surround sound
- •6.1.1 Summing localization equations for spatial multiple loudspeaker configurations
- •6.1.2 Velocity and energy localization vector analysis for multichannel spatial surround sound
- •6.1.3 Discussion on spatial summing localization equations
- •6.1.4 Relationship with the horizontal summing localization equations
- •6.2 Signal mixing methods for a pair of vertical loudspeakers in the median and sagittal plane
- •6.3 Vector base amplitude panning
- •6.4 Spatial Ambisonic signal mixing and reproduction
- •6.4.1 Principle of spatial Ambisonics
- •6.4.2 Some examples of the first-order spatial Ambisonics
- •6.4.4 Recreating a top virtual source with a horizontal loudspeaker arrangement and Ambisonic signal mixing
- •6.5 Advanced multichannel spatial surround sounds and problems
- •6.5.1 Some advanced multichannel spatial surround sound techniques and systems
- •6.5.2 Object-based spatial sound
- •6.5.3 Some problems related to multichannel spatial surround sound
- •6.6 Summary
- •7.1 Basic considerations on the microphone and signal simulation techniques for multichannel sounds
- •7.2 Microphone techniques for 5.1-channel sound recording
- •7.2.1 Outline of microphone techniques for 5.1-channel sound recording
- •7.2.2 Main microphone techniques for 5.1-channel sound recording
- •7.2.3 Microphone techniques for the recording of three frontal channels
- •7.2.4 Microphone techniques for ambience recording and combination with frontal localization information recording
- •7.2.5 Stereophonic plus center channel recording
- •7.3 Microphone techniques for other multichannel sounds
- •7.3.1 Microphone techniques for other discrete multichannel sounds
- •7.3.2 Microphone techniques for Ambisonic recording
- •7.4 Simulation of localization signals for multichannel sounds
- •7.4.1 Methods of the simulation of directional localization signals
- •7.4.2 Simulation of virtual source distance and extension
- •7.4.3 Simulation of a moving virtual source
- •7.5 Simulation of reflections for stereophonic and multichannel sounds
- •7.5.1 Delay algorithms and discrete reflection simulation
- •7.5.2 IIR filter algorithm of late reverberation
- •7.5.3 FIR, hybrid FIR, and recursive filter algorithms of late reverberation
- •7.5.4 Algorithms of audio signal decorrelation
- •7.5.5 Simulation of room reflections based on physical measurement and calculation
- •7.6 Directional audio coding and multichannel sound signal synthesis
- •7.7 Summary
- •8.1 Matrix surround sound
- •8.1.1 Matrix quadraphone
- •8.1.2 Dolby Surround system
- •8.1.3 Dolby Pro-Logic decoding technique
- •8.1.4 Some developments on matrix surround sound and logic decoding techniques
- •8.2 Downmixing of multichannel sound signals
- •8.3 Upmixing of multichannel sound signals
- •8.3.1 Some considerations in upmixing
- •8.3.2 Simple upmixing methods for front-channel signals
- •8.3.3 Simple methods for Ambient component separation
- •8.3.4 Model and statistical characteristics of two-channel stereophonic signals
- •8.3.5 A scale-signal-based algorithm for upmixing
- •8.3.6 Upmixing algorithm based on principal component analysis
- •8.3.7 Algorithm based on the least mean square error for upmixing
- •8.3.8 Adaptive normalized algorithm based on the least mean square for upmixing
- •8.3.9 Some advanced upmixing algorithms
- •8.4 Summary
- •9.1 Each order approximation of ideal reproduction and Ambisonics
- •9.1.1 Each order approximation of ideal horizontal reproduction
- •9.1.2 Each order approximation of ideal three-dimensional reproduction
- •9.2 General formulation of multichannel sound field reconstruction
- •9.2.1 General formulation of multichannel sound field reconstruction in the spatial domain
- •9.2.2 Formulation of spatial-spectral domain analysis of circular secondary source array
- •9.2.3 Formulation of spatial-spectral domain analysis for a secondary source array on spherical surface
- •9.3 Spatial-spectral domain analysis and driving signals of Ambisonics
- •9.3.1 Reconstructed sound field of horizontal Ambisonics
- •9.3.2 Reconstructed sound field of spatial Ambisonics
- •9.3.3 Mixed-order Ambisonics
- •9.3.4 Near-field compensated higher-order Ambisonics
- •9.3.5 Ambisonic encoding of complex source information
- •9.3.6 Some special applications of spatial-spectral domain analysis of Ambisonics
- •9.4 Some problems related to Ambisonics
- •9.4.1 Secondary source array and stability of Ambisonics
- •9.4.2 Spatial transformation of Ambisonic sound field
- •9.5 Error analysis of Ambisonic-reconstructed sound field
- •9.5.1 Integral error of Ambisonic-reconstructed wavefront
- •9.5.2 Discrete secondary source array and spatial-spectral aliasing error in Ambisonics
- •9.6 Multichannel reconstructed sound field analysis in the spatial domain
- •9.6.1 Basic method for analysis in the spatial domain
- •9.6.2 Minimizing error in reconstructed sound field and summing localization equation
- •9.6.3 Multiple receiver position matching method and its relation to the mode-matching method
- •9.7 Listening room reflection compensation in multichannel sound reproduction
- •9.8 Microphone array for multichannel sound field signal recording
- •9.8.1 Circular microphone array for horizontal Ambisonic recording
- •9.8.2 Spherical microphone array for spatial Ambisonic recording
- •9.8.3 Discussion on microphone array recording
- •9.9 Summary
- •10.1 Basic principle and implementation of wave field synthesis
- •10.1.1 Kirchhoff–Helmholtz boundary integral and WFS
- •10.1.2 Simplification of the types of secondary sources
- •10.1.3 WFS in a horizontal plane with a linear array of secondary sources
- •10.1.4 Finite secondary source array and effect of spatial truncation
- •10.1.5 Discrete secondary source array and spatial aliasing
- •10.1.6 Some issues and related problems on WFS implementation
- •10.2 General theory of WFS
- •10.2.1 Green’s function of Helmholtz equation
- •10.2.2 General theory of three-dimensional WFS
- •10.2.3 General theory of two-dimensional WFS
- •10.2.4 Focused source in WFS
- •10.3 Analysis of WFS in the spatial-spectral domain
- •10.3.1 General formulation and analysis of WFS in the spatial-spectral domain
- •10.3.2 Analysis of the spatial aliasing in WFS
- •10.3.3 Spatial-spectral division method of WFS
- •10.4 Further discussion on sound field reconstruction
- •10.4.1 Comparison among various methods of sound field reconstruction
- •10.4.2 Further analysis of the relationship between acoustical holography and sound field reconstruction
- •10.4.3 Further analysis of the relationship between acoustical holography and Ambisonics
- •10.4.4 Comparison between WFS and Ambisonics
- •10.5 Equalization of WFS under nonideal conditions
- •10.6 Summary
- •11.1 Basic principles of binaural reproduction and virtual auditory display
- •11.1.1 Binaural recording and reproduction
- •11.1.2 Virtual auditory display
- •11.2 Acquisition of HRTFs
- •11.2.1 HRTF measurement
- •11.2.2 HRTF calculation
- •11.2.3 HRTF customization
- •11.3 Basic physical features of HRTFs
- •11.3.1 Time-domain features of far-field HRIRs
- •11.3.2 Frequency domain features of far-field HRTFs
- •11.3.3 Features of near-field HRTFs
- •11.4 HRTF-based filters for binaural synthesis
- •11.5 Spatial interpolation and decomposition of HRTFs
- •11.5.1 Directional interpolation of HRTFs
- •11.5.2 Spatial basis function decomposition and spatial sampling theorem of HRTFs
- •11.5.3 HRTF spatial interpolation and signal mixing for multichannel sound
- •11.5.4 Spectral shape basis function decomposition of HRTFs
- •11.6 Simplification of signal processing for binaural synthesis
- •11.6.1 Virtual loudspeaker-based algorithms
- •11.6.2 Basis function decomposition-based algorithms
- •11.7.1 Principle of headphone equalization
- •11.7.2 Some problems with binaural reproduction and VAD
- •11.8 Binaural reproduction through loudspeakers
- •11.8.1 Basic principle of binaural reproduction through loudspeakers
- •11.8.2 Virtual source distribution in two-front loudspeaker reproduction
- •11.8.3 Head movement and stability of virtual sources in Transaural reproduction
- •11.8.4 Timbre coloration and equalization in transaural reproduction
- •11.9 Virtual reproduction of stereophonic and multichannel surround sound
- •11.9.1 Binaural reproduction of stereophonic and multichannel sound through headphones
- •11.9.2 Stereophonic expansion and enhancement
- •11.9.3 Virtual reproduction of multichannel sound through loudspeakers
- •11.10.1 Binaural room modeling
- •11.10.2 Dynamic virtual auditory environments system
- •11.11 Summary
- •12.1 Physical analysis of binaural pressures in summing virtual source and auditory events
- •12.1.1 Evaluation of binaural pressures and localization cues
- •12.1.2 Method for summing localization analysis
- •12.1.3 Binaural pressure analysis of stereophonic and multichannel sound with amplitude panning
- •12.1.4 Analysis of summing localization with interchannel time difference
- •12.1.5 Analysis of summing localization at the off-central listening position
- •12.1.6 Analysis of interchannel correlation and spatial auditory sensations
- •12.2 Binaural auditory models and analysis of spatial sound reproduction
- •12.2.1 Analysis of lateral localization by using auditory models
- •12.2.2 Analysis of front-back and vertical localization by using a binaural auditory model
- •12.2.3 Binaural loudness models and analysis of the timbre of spatial sound reproduction
- •12.3 Binaural measurement system for assessing spatial sound reproduction
- •12.4 Summary
- •13.1 Analog audio storage and transmission
- •13.1.1 45°/45° Disk recording system
- •13.1.2 Analog magnetic tape audio recorder
- •13.1.3 Analog stereo broadcasting
- •13.2 Basic concepts of digital audio storage and transmission
- •13.3 Quantization noise and shaping
- •13.3.1 Signal-to-quantization noise ratio
- •13.3.2 Quantization noise shaping and 1-Bit DSD coding
- •13.4 Basic principle of digital audio compression and coding
- •13.4.1 Outline of digital audio compression and coding
- •13.4.2 Adaptive differential pulse-code modulation
- •13.4.3 Perceptual audio coding in the time-frequency domain
- •13.4.4 Vector quantization
- •13.4.5 Spatial audio coding
- •13.4.6 Spectral band replication
- •13.4.7 Entropy coding
- •13.4.8 Object-based audio coding
- •13.5 MPEG series of audio coding techniques and standards
- •13.5.1 MPEG-1 audio coding technique
- •13.5.2 MPEG-2 BC audio coding
- •13.5.3 MPEG-2 advanced audio coding
- •13.5.4 MPEG-4 audio coding
- •13.5.5 MPEG parametric coding of multichannel sound and unified speech and audio coding
- •13.5.6 MPEG-H 3D audio
- •13.6 Dolby series of coding techniques
- •13.6.1 Dolby digital coding technique
- •13.6.2 Some advanced Dolby coding techniques
- •13.7 DTS series of coding technique
- •13.8 MLP lossless coding technique
- •13.9 ATRAC technique
- •13.10 Audio video coding standard
- •13.11 Optical disks for audio storage
- •13.11.1 Structure, principle, and classification of optical disks
- •13.11.2 CD family and its audio formats
- •13.11.3 DVD family and its audio formats
- •13.11.4 SACD and its audio formats
- •13.11.5 BD and its audio formats
- •13.12 Digital radio and television broadcasting
- •13.12.1 Outline of digital radio and television broadcasting
- •13.12.2 Eureka-147 digital audio broadcasting
- •13.12.3 Digital radio mondiale
- •13.12.4 In-band on-channel digital audio broadcasting
- •13.12.5 Audio for digital television
- •13.13 Audio storage and transmission by personal computer
- •13.14 Summary
- •14.1 Outline of acoustic conditions and requirements for spatial sound intended for domestic reproduction
- •14.2 Acoustic consideration and design of listening rooms
- •14.3 Arrangement and characteristics of loudspeakers
- •14.3.1 Arrangement of the main loudspeakers in listening rooms
- •14.3.2 Characteristics of the main loudspeakers
- •14.3.3 Bass management and arrangement of subwoofers
- •14.4 Signal and listening level alignment
- •14.5 Standards and guidance for conditions of spatial sound reproduction
- •14.6 Headphones and binaural monitors of spatial sound reproduction
- •14.7 Acoustic conditions for cinema sound reproduction and monitoring
- •14.8 Summary
- •15.1 Outline of psychoacoustic and subjective assessment experiments
- •15.2 Contents and attributes for spatial sound assessment
- •15.3 Auditory comparison and discrimination experiment
- •15.3.1 Paradigms of auditory comparison and discrimination experiment
- •15.3.2 Examples of auditory comparison and discrimination experiment
- •15.4 Subjective assessment of small impairments in spatial sound systems
- •15.5 Subjective assessment of a spatial sound system with intermediate quality
- •15.6 Virtual source localization experiment
- •15.6.1 Basic methods for virtual source localization experiments
- •15.6.2 Preliminary analysis of the results of virtual source localization experiments
- •15.6.3 Some results of virtual source localization experiments
- •15.7 Summary
- •16.1.1 Application to commercial cinema and related problems
- •16.1.2 Applications to domestic reproduction and related problems
- •16.1.3 Applications to automobile audio
- •16.2.1 Applications to virtual reality
- •16.2.2 Applications to communication and information systems
- •16.2.3 Applications to multimedia
- •16.2.4 Applications to mobile and handheld devices
- •16.3 Applications to the scientific experiments of spatial hearing and psychoacoustics
- •16.4 Applications to sound field auralization
- •16.4.1 Auralization in room acoustics
- •16.4.2 Other applications of auralization technique
- •16.5 Applications to clinical medicine
- •16.6 Summary
- •References
- •Index

Binaural reproduction and virtual auditory display 561
HRTF-based filters are constantly updated according to the listener’s head position and orientation information detected by the head tracker. Spherical microphone array recording retains dynamic information and overcomes the shortcomings of conventional artificial head recordings. In practical implementation, the head turning to a specified direction is equivalent to turning the sound field in opposite directions; therefore, dynamic information can be incorporated by applying a rotation transformation to the independent signals of virtual Ambisonics (Section 9.4.2, Enzner et al., 2013). In this case, HRTF-based filters corresponding to M virtual loudspeaker directions are sufficient, but directional continuous HRTFs and updating HRTFs are not required.
11.11 SUMMARY
Binaural reproduction and VAD aim to reconstruct binaural sound pressures. The related binaural signals can be obtained by binaural recording from an artificial head or human subject, and they can also be obtained by binaural synthesis.
HRTFs, which are essential for binaural synthesis, can be acquired using three methods: measurement, calculation, and customization. The technique for far-field HRTF measurement is mature, and many far-field HRTF databases have been established. Near-field HRTF measurements are relatively difficult. Rare near-field HRTF databases for artificial head and human subjects are available. The analytical solutions of HRTFs can only be calculated for rare simplified head/torso models. Based on the scanning of the anatomical surfaces of subjects, numerical calculations, such as the BEM, yield HRTFs within the full audible frequency range with an appropriate accuracy. HRTF customization has various methods. HRTF customization is simpler than measurement or calculation and usually yields a modest perceived performance. However, the accuracy of customization is inferior to that of measurement or calculation. HRTF customization should be improved in many aspects. HRTFs and HRIRs exhibit various features in time and frequency domains. These features are closely related to auditory localization.
Binaural synthesis is often implemented using digital filters. HRTF-based filters can be implemented using different filter models and designed using different methods. The mini- mum-phase approximation and spectral smoothing of HRTFs simplify filters.
Measurement yields HRTFs at discrete and finite directions. HRTFs in unmeasured directions can be reconstructed or estimated from the measured data by using various interpolation schemes.
A directional continuous HRTF can be decomposed via spatial basis functions. Spatial harmonics are a common type of spatial basis function. The spatial harmonic decomposition of HRTFs is closely related to the directional interpolation of HRTFs from which the Shannon–Nyquist spatial sampling theorem of HRTFs can be derived. The spatial interpolation of HRTFs and the signal mixing of multichannel surround sounds are closely related to each other. Some signal mixing methods in multichannel sound reproduction are analogous to certain interpolation and recovery schemes for HRTFs. Under the theoretical framework of spatial function sampling, interpolation, and reconstruction, various spatial sound techniques are unified. The analogy between multichannel sound reproduction and HRTF interpolation enables the interchanging of some of the methods used for the two fields.
HRTFs can also be decomposed using spectral shape basis functions. PCA is an effective statistical algorithm for deriving basis functions. It eliminates the correlations among HRTFs so that HRTFs can be simply represented by the weighted sum of a small set of spectral shape basis functions.

562 Spatial Sound
The analogy between the signal mixing of multichannel sound and spatial interpolation of HRTFs or the basis function decomposition of HRTFs are applied to simplify the signal processing of binaural synthesis for multiple and moving virtual sources, resulting in virtual loudspeaker-based algorithms and basis function decomposition-based algorithms.
The equalization of the transfer characteristics of the headphone-to-ear canal is needed in binaural reproduction, which is realized by inverse HpTF filters. Some types of headphones exhibit poor repeatability in HpTF measurements, which are related to the compression deformation of pinnae by headphones. Ideally, individualized HpTFs should be used for headphone equalization. Reversal error, elevation error, and lateralization often occur in the headphone presentation of binaural signals. These defects are caused by the absence of dynamic cues and errors in the high-frequency spectral cue in static binaural reproduction. Reflections are vital to the externalization of a virtual source. Based on externalization, auditory distance perception in binaural reproduction can be controlled by reflection and binaural synthesis with near-field HRTFs.
Crosstalk cancellation is required when binaural signals are reproduced through loudspeakers. Binaural synthesis and crosstalk cancellation can be merged as transaural processing. Transaural reproduction with two frontal loudspeakers can recreate stable virtual sources in frontal-horizontal directions. A given crosstalk cancellation and transaural processing are only effective for a specified listening position and head orientation. Therefore, the listening region for transaural reproduction is narrow, and the perceived timbre coloration often occurs in binaural reproduction through loudspeakers. Nevertheless, timbre coloration can be reduced by the constant-power equalization algorithm.
Lateralization occurs when stereophonic sound and multichannel sound signals are directly presented by a pair of headphones. Binaural synthesis is applied to convert stereophonic sound and multichannel sound signals for headphone presentation. The transaural method is used for the stereophonic expansion and virtual reproduction of multichannel sound.
A complete VAD should include a reflection-modeling component hereafter called a VAE. Therefore, various methods exist for binaurally simulating reflections. A dynamic and realtime virtual auditory environment system simulates the dynamic auditory information caused by head movement and thus accurately recreates various auditory events.