
- •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

378 Spatial Sound
is consistent with that estimated from Equation (9.3.15). These errors are attributed to the following: spatial aliasing in the reconstructed sound field and secondary sources arranged in a circle with a finite radius of r0 = 5.0 m. The sound waves created by secondary sources can be approximated as plane waves only in a small region close to the origin.
The decoding Equation (9.3.12) is derived by matching each order of the azimuthal harmonic component of the reconstructed sound field with that of the target sound field, and the resultant decoding coefficients are independent of frequency. Although the problem of highfrequency error in the reconstructed sound field cannot be solved on the basis of a physical principle, the perceived performance of high-frequency reproduction can be improved by using some psychoacoustic methods. In particular, the perceived performance at a high frequency can be enhanced by replacing the constant coefficients κq in Equation (9.3.12) or Equation (4.3.53) with frequency-dependent coefficient κq = κq(f), which is equivalent to applying frequency windows to different azimuthal harmonic components in the Bessel– Fourier expansion (Poletti, 2000). Various optimal psychoacoustic methods for the frequency windows are available. These optimal methods preserve the decoding coefficients derived from the matching of azimuthal harmonic components at low frequencies and revising the decoding coefficients (e.g., reducing the gain of decoding coefficients for higher-order azimuthal harmonic components) at high frequencies. The shelf filters and optimization of decoding for low and high frequencies are separately illustrated as examples in Sections 4.3.3 and 4.3.4. However, according to Equation (4.3.66), frequency windows may alter the overall power spectra in reproduction and cause timbre coloration.
In summary, the decoding equation and driving signals of arbitrary Q-order horizontal Ambisonics with M uniform or non-uniform secondary source configurations are derived from the azimuthal spectrum representation of a sound field. For a uniform secondary source array, the spatial sampling and recovery theorem of a sound field is validated, and the minimal number of secondary sources of Q-order horizontal Ambisonics is proven to be (2Q + 1). The upper frequency and region of accurate sound field reconstruction increase as the order of Ambisonics increases.
9.3.2 Reconstructed sound field of spatial Ambisonics
The analysis in Section 9.3.1 can be extended to the case of spatial Ambisonics (Jot et al., 1999; Daniel, 2000; Ward and Abhayapala, 2001; Poletti, 2005b). The target or original sound field is created by a point source at ΩS and rS. It can be approximated as an incident plane wave with a unit amplitude within a region close to the origin. The sound field on a spherical surface with radius r rS around the origin is considered. According to Equation (1.2.6), the frequency domain sound pressure at the arbitrary receiver position (r, Ω) on a spherical surface is given as
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exp jkr cos |
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(9.3.16) |
where ΩS = (ΩS−Ω) is the angle between the directions of an incident plane wave and the vector of receiver position. Similar to Equation (9.2.38), Equation (9.3.16) can be decomposed by real-valued spherical harmonic functions as
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kr P cos |
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4 jl jl kr Ylm S Ylm |
l 0 m 0 1

Analysis of multichannel sound field recording and reconstruction 379
l 2 |
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jl kr Ylm , |
(9.3.17) |
l 0 m 0 1
where jl(kr) and Pl[cos( ΩS)] are the l-order spherical Bessel function and l-order Legendre polynomials, respectively. The summation formula of a spherical harmonic function in Equation (A.17) in Appendix A is used to derive the second equality on the right side of Equation (9.3.17). Furthermore,
Blm 4 jlYlm S , |
(9.3.18) |
where Blm are a set of spherical harmonic coefficient of decomposition and proportional to various order independent signals of Ambisonics for a target plane wave source. In comparison with Equation (9.2.31), the spherical harmonic spectrum representation of the target sound pressure is evaluated using the following:
Plm r, f Blm jl kr 4 jl jl kr Ylm S l 0,1, 2 ; m 0,1, 2 l, 1, 2. (9.3.19)
In reproduction, M secondary sources are arranged on a spherical surface with radius r0. r0 is large enough so that the incident wave from each secondary source can be approximated as a plane wave at a receiver region close to the origin. The direction of the ith secondary source is Ωi. The driving signal is Ei(Ωi, ΩS, f) = Ai(ΩS) EA(f), i = 0, 1…(M − 1), and the normalized amplitude Ai(ΩS) depends on ΩS. For a target plane wave with a unit amplitude, EA(f ) = 1, substituting Equation (9.2.39) and (9.3.19) into Equation (9.2.43) yields a set of equations for the normalized amplitudes of driving signals:
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Ai S Ylm i Ylm S |
(9.3.20) |
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l 1, 2, 3 m 0,1 l. if m 0, 1, 2; |
if m 0, 1. |
Equation (9.3.20) is valid for jl(kr) ≠ 0 similar to the case of horizontal reproduction. Ai(ΩS) is also decomposed by real-valued spherical harmonic functions to solve the driving
signals:
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i Ylm S . |
(9.3.21) |
l 0 m 0 1
In extreme cases of uniform and continuous secondary source array on a spherical surface, Dlm is proportional to Ylm , where Ω′ is the continuous direction of secondary source distribution. After multiplication with the signal waveform EA(f ) in the frequency
domain, EA f Ylm is proportional to Elm , f in Equation (9.2.44).
Substituting Equation (9.3.21) into Equation (9.3.20) yields a matrix equation for unknown decoding coefficients:
S3D Atotal Y3D D3D S3D,. |
(9.3.22) |

380 Spatial Sound
where S3D Y001 S , Y111 S , Y112 S , Y101 S . T is a ∞ × 1 column matrix or vector composed of the normalized amplitude of independent signals of spatial Ambisonics, and [D3D] is an M × ∞ decoding matrix whose entries are Dlm i . The rows of this matrix are arranged in the order of Ω0, Ω1… ΩM−1, and its columns are arranged in the order of (l, m, σ) = (0,0,1), (1,1,1), (1,1,2), (1,0,1)… etc. [Y3D] is an ∞ × M matrix whose entries are Ylm i .
The rows of this matrix are arranged in the order of Y001 , Y111 , Y112 ,Y101 . etc., and its columns are arranged in the order of Ω0, Ω1… ΩM−1. Here, each entry in the signal S3D is normalized so that the integral of their square amplitude in all directions is a unit. This normalization is different from that expressed in Equation (6.4.1), where the maximal magnitudes of W, X, Y, and Z are normalized to a unit. Accordingly, [Y3D] and [D3D] here are different from those in Equations (6.4.5) to (6.4.8). However, the results of different normalizations are equivalent.
For arbitrary (L − 1) ≥ 1 order reproduction, the summation in Equation (9.3.21) is truncated up to the order l = (L − 1), and S3D, [D3D], and [Y3D] become an L2 × 1 column matrix, an M × L2 decoding matrix, and an L2 × M matrix, respectively. When M > L2 and when [Y3D][Y3D]T is well-conditions, the decoding coefficients or matrix in Equation (9.3.22) can be solved using the following pseudoinverse method:
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Equation (9.3.23) is an extension of Equation (6.4.8) for the first-order spatial Ambisonics to an arbitrary higher-order spatial Ambisonics, and the results satisfy the condition of con- stant-amplitude normalization.
Driving signals are obtained by substituting decoding coefficients into Equation (9.3.21). The decoding coefficients and normalized amplitude of driving signals depend on secondary source configuration. The problem of secondary source configuration on a spherical surface is generally complicated. However, for a special secondary source array or discrete directional sampling on a spherical surface, the spherical harmonic functions of secondary source directions satisfy the discrete orthogonality given in Equation (A.20) in Appendix A up to the order (L − 1). For real-valued spherical harmonic functions, discrete orthogonality yields
M 1
iYl m i Ylm i ll mm l,l L 1 , 0 m,m l 1,2, (9.3.24) i 0
where δll′ is the Kronecker delta function, the weight λi depends on the configuration or directional sampling scheme of secondary sources. Equation (9.3.24) can be written in a matrix form:
Y3D Y3D T I , |
(9.3.25) |
where [Λ] = diag [λ0, λ1,…λM−1] is an M × M diagonal matrix, and [I] is an L2 × L2 identify matrix. When the secondary source configuration satisfies the aforementioned discrete
orthogonality of spherical harmonic functions, the exact solution of the decoding equation

Analysis of multichannel sound field recording and reconstruction 381
and the driving signals in Equation (9.3.20) for arbitrary (L − 1) order reproduction are obtained as
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2l 1 P cos |
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l 0 m 0 1 |
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where A(Ωi, ΩS) is directly obtained by letting Ω′ = Ωi in the driving signals of Equation (9.1.25) for uniform and continuous secondary array; Ω′i = ΩS − Ωi is the angle between the directions of the ith secondary source and the target source; and Pl[cos( Ω′i)] is the l-order Legendre polynomials. The summation formula of spherical harmonic functions in Equation (A.17) in Appendix A is used to obtain the second equality on the right side of Equation (9.3.26). From Equations (9.3.22) and (9.3.25), the pseudoinverse solution of the decoding matrix becomes
Atotal D3D Y3D T . |
(9.3.27a) |
For nearly uniform secondary source arrays, all weights are approximately equal to λi = λ = 4π/M, Equation (9.3.27a) becomes
Atotal D3D Y3D T . |
(9.3.27b) |
Similar to the case of horizontal sound field, an arbitrary spatial incident sound field can be decomposed by spherical harmonic functions in the form of the third equality on the right
side of Equation (9.3.17), but the coefficients B of decomposition are no longer the form
lm
given in Equation (9.3.18). Moreover, for a non-harmonic incident sound field, Blm depends
on frequency. The amplitudes of independent signals from Ambisonic recording are pro- |
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portional to B . These independent signals are decoded by Equation (9.3.21), where B |
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lm |
lm |
is used to replace Ylm S |
in Equation (9.3.21). Then, they are reproduced by secondary |
sources. If the array of M secondary sources satisfies the condition of discrete orthogonality, the spherical harmonic decomposition of reconstructed sound field matches with that of the target sound field up to the order (L − 1). Generally, if a target incident sound field is spatially bandlimited so that all the l > (L − 1)-order components in the spherical harmonic decom-
position of the directional distribution function PA in , f of the amplitude of the incident plane wave vanish, the preceding (L − 1) order spherical harmonic components of the reconstructed sound field match with those of the target sound field within the desired spherical region with radius r. The discrete orthogonality of spherical harmonic functions depends on M and configuration of secondary sources. The Shannon–Nyquist spatial sampling theorem requires the minimal number of secondary sources:
M ≥ L2. |
(9.3.28) |
For most practical arrays (Section 9.4.1), the required number of secondary sources exceeds the lower limit given in Equation (9.3.28) and may be much higher than the lower limit in some instances.
The spatial sampling and recovery theorem are extended to the case of spatial Ambisonic sound field in the above discussion. In summary, L2 coincident microphones with different order directivities are needed to record the independent signals of (L − 1) order spatially