
- •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

Analysis of multichannel sound field recording and reconstruction 397
9.4 SOME PROBLEMS RELATED TO AMBISONICS
9.4.1 Secondary source array and stability of Ambisonics
Secondary source array or loudspeaker configuration of Ambisonics is relatively flexible. Various secondary source arrays for reproduction have been developed. In Section 9.3, the minimal number of secondary sources required for different order reproductions is analyzed, and the decoding matrix or driving signals are derived. In Section 9.3.1, for horizontal Ambisonics with uniform secondary source array, each row in the matrix described in Equation (9.3.9) satisfies the discrete orthogonality of trigonometric functions. Therefore, uniform (regular) secondary source arrays are often used in horizontal Ambisonics. For nonuniform (irregular) secondary source array, the decoding matrix and driving signals can be solved with the pseudoinverse method in Equation (9.3.10).
For spatial Ambisonics, in Section 9.3.2, if the array of M secondary sources satisfies the discrete orthogonality of spherical harmonic functions given in Equation (9.3.24), an exact solution of the decoding equation and driving signals of the (L − 1)-order spatial Ambisonics can be found. However, only a few secondary source arrays satisfy the discrete orthogonality of spherical harmonic functions. Some examples are presented as follows:
1.Equiangle array. The elevation α = 90° − ϕ and the azimuth β = θ are uniformly sampled at 2L angles, respectively; M = 4L2 secondary sources are arranged in the directions of sampling.
2.Gauss–Legendre node array. Elevation is first sampled at L angles that are chosen according to the Gauss–Legendre nodes. Then, the azimuth in each elevation is sampled at 2L angles. M = 2L2 secondary sources are arranged in the directions of sampling.
3.Uniform or nearly uniform array. Directional samples are uniformly or nearly uniformly distributed on the spherical surface so that the distance between neighboring samples is constant or nearly constant. Secondary sources are arranged in the directions of sampling. The number of secondary sources is usually larger than or at least equal to the lower limit given in Shannon–Nyquist spatial sampling theorem, i.e., M ≥ L2.
The equiangle array is intuitive, but it requires a fourfold number of secondary sources than the lower limit given in the Shannon–Nyquist spatial sampling theorem. In fact, the actual angular interval between two adjacent azimuthal sampling decreases as the direction deviates from the horizontal plane to the high and low elevations. Accordingly, an elevationdependent weight λi is introduced into the driving signals in Equation (9.3.26) to reduce or avoid the overemphasis of the contribution of secondary sources in high and low elevations to the reconstructed sound field. Therefore, the efficiency of equiangle arrays is not high from the point of directional sampling and the reconstruction of sound field. As such, this array is seldom used in practical reproduction.
Gauss–Legendre node array requires twice the number of secondary sources in comparison with the lower limit given by the Shannon–Nyquist spatial sampling theorem and thus more efficient than the equiangle array. However, this array imposes more restrictions on the directions of secondary sources. In particular, no secondary sources may exist in a horizontal plane (equator), which is inconsistent with the requirement of enhancing the stability of a horizontal virtual source in reproduction. Therefore, Gauss–Legendre node array is usually inappropriate for practical uses.
A regular secondary source array usually exhibits a high efficiency and leads to a stable reconstructed sound field.A horizontal array is regular if each row of matrix [Y2D] in Equation (9.3.9) satisfies the discrete orthogonality given in Equation (4.3.18), i.e., it satisfies [Y2D]

398 Spatial Sound
[Y2D]T = const. Therefore, a horizontal uniform array with M secondary sources is regular up to the following order of Ambisonic reproduction: Q = (M − 1) / 2 if M is an odd number, or (M − 2)/2 if M is an even number. Similarly, a spatial array is regular if [Y3D] in Equation (9.3.22) satisfies the discrete orthogonality expressed in Equation (9.3.24) or (9.3.25) with a constant weight of λ0 = λ1 = … = λM−1. However, only five spatial arrays are strictly regular (Daniel, 2000). These regular arrays can be realized by arranging the secondary sources in the vertices or centers of faces of some polyhedrons, including tetrahedrons, hexahedrons (cube), octahedrons, icosahedrons, and dodecahedrons (Hollerweger, 2006). Tetrahedral, hexahedral, and octahedral arrays are regular for the first-order spatial Ambisonic reproduction. Some examples of the first-order reproduction with tetrahedral and hexahedral arrays are illustrated in Section 6.4.2. Icosahedral and dodecahedral arrays are regular up to the second-order reproduction although dodecahedral arrays provide 20 secondary sources that exceed the minimal number of (3 + 1)2 = 16 for the third-order reproduction. Moreover, secondary sources are arranged in the horizontal plane only for some polyhedral arrays, such as face-center array in a hexahedron. Various nearly uniform arrays provide more secondary sources (Appendix A) for higher-order Ambisonic reproduction. Usually, the number M of secondary sources in a nearly uniform array is 1.3–1.5 times of the lower limit given in Equation (9.3.28). If M exceeds 1.5L2, a constant weight λi = λ can be approximately chosen in the calculation of Equations (9.3.24) to (9.3.26). Therefore, the efficiency of nearly uniform array is relatively high.
In addition to the aforementioned arrays, some other arrays satisfy the discrete orthogonality expressed in Equation (9.3.24; Lecomte et al., 2015). These arrays may be mathematically perfect, but they are restricted in practical uses. In particular, arranging secondary sources in the bottom is usually inconvenient. Irregular or non-uniform arrays are often used in accordance with the practical reproduction space, and the pseudoinverse method in Equation (9.3.23) is used to solve the driving signals. However, non-uniform arrays may cause instability in the reconstructed sound field. Therefore, feasibility and stability should be considered comprehensively in the design of practical spatial arrays. Instability may also occur in horizontal Ambisonic reproduction with irregular arrays.
Some perturbations on reproduction systems, such as slight errors in secondary source positions and slight differences in the characteristics of secondary sources, are inevitable. Instability means that the reconstructed sound field is sensitive to these small perturbations. Stability depends on the number and configuration of secondary sources in reproduction and is closely related to the pseudoinverse calculation of [Y2D] in Equation (9.3.10) or [Y3D] in Equation (9.3.22) for deriving the decoding matrix. According to numerical analysis theory, stability can be evaluated on the basis of the condition number of [Y2D] or [Y3D] (Sontacchi,
2003). For example, in spatial Ambisonics, |
|
|
|
|
cond Y3D |
max Y3D |
, |
(9.4.1) |
|
min Y3D |
||||
|
|
|
where γmax[Y3D] and γmin[Y3D] are the largest and smallest singular values of [Y3D] in Equation (9.3.22). Because [Y3D] is an L2 × M matrix, [Y3D][Y3D]T is an L2 × L2 real symmetric matrix
with K-positive eigenvalues of 02 12 K2 1 0 . K singular values of [Y3D] are γ0 ≥ |
|
γ1 ≥… γK−1 |
> 0, and the largest and smallest singular values are given by γmax[Y3D] = γ0 and |
γmin[Y3D] = |
γK−1. By definition, the condition number is not less than a unit. The smaller (closer |
to unit) the condition number is, the more stable the system will be.
As simple cases, the hexahedral array of eight loudspeakers and the tetrahedral array of four loudspeakers in Section 6.4.2 are first analyzed. For the (L − 1) = 1 order spatial

Analysis of multichannel sound field recording and reconstruction 399
Ambisonics, the condition numbers of [Y3D] for two arrays are 1.00 and 1.01; therefore, reproduction is stable. However, for the (L − 1) = 2 order spatial Ambisonics, the condition number for both arrays are infinite. In fact, the number of secondary sources (four and eight) in both arrays does not reach the lower limit of the second-order reproduction in Equation (9.3.28).
Three kinds of layer-wise arrays are further analyzed (Liu and Xie, 2013a):
1.Three-layer array of 28 secondary sources (three-layer 28)
Upper, middle (horizontal), and bottom layers are located at ϕ = 45°, 0°, and −45°, respectively. Eight secondary sources with a uniform azimuth of θ = 0°, 45°, …, 315° are arranged in each of the upper and bottom layers. Twelve secondary sources with a uniform azimuth of θ = 0°, 30°, …, 330° are arranged in the middle layer.
2.Three-layer array of 32 secondary sources (three-layer 32)
Upper, middle (horizontal), and bottom layers are located at ϕ = 45°, 0°, and −45°, respectively. Eight secondary sources with a uniform azimuth of θ = 0°, 45°, …, 315° are arranged in each of the upper and bottom layers. Sixteen secondary sources with a uniform azimuth of θ = 0°, 22.5°, …, 337.5° are arranged in the middle layer.
3.Five-layer array of 36 secondary sources (five-layer 36)
Twelve secondary sources with a uniform azimuth of θ = 0°, 30°, …, 330° are arranged in the horizontal plane at ϕ = 0°; eight secondary sources with a uniform azimuth of θ = 0°, 45°, …, 315° are arranged in each elevation plane at ϕ = ±30°; four secondary sources with a uniform azimuth of θ = 0°, 90°, 180°, and 270° are arranged in each of the elevation plane at ϕ = ±60°.
The three aforementioned arrays are easy to implement and often used for research on Ambisonics. For comparison, a nearly uniform array of 36 secondary sources (nearly uniform 36), equiangle array of 36 secondary sources (equiangle 36), and Gauss–Legendre node array of 32 secondary sources (Gauss–Legendre 32) are also analyzed. The condition numbers of [Y3D] of various arrays for the preceding four-order Ambisonics are listed in Table 9.1 (Liu, 2014).
Nearly uniform 36 is the best among various arrays in Table 9.1. It is available up to the fourth-order reproduction with appropriate condition numbers of [Y3D]. Five-layer 36 exhibits similar results, but its condition numbers are higher than those of the nearly uniform 36. Gauss–Legendre 32 is available up to the third-order reproduction. Equiangle 36, threelayer 32, or three-layer 28 are available up to the second-order reproduction. Noticeably, after secondary sources in the horizontal plane at ϕ = 0° increase, the condition numbers of
Table 9.1 Condition numbers of various secondary source arrays
Cond[Y3D] |
1-order |
2-order |
3-order |
4-order |
Nearly uniform 36 |
1.11 |
1.23 |
1.41 |
1.60 |
Equiangle 36 |
2.00 |
2.91 |
∞ |
∞ |
Gauss–Legendre 32 |
1.50 |
1.87 |
1.88 |
∞ |
Three-layer 28 |
1.25 |
1.67 |
∞ |
∞ |
Three-layer 32 |
1.51 |
2.03 |
∞ |
∞ |
Five-layer 36 |
1.30 |
1.53 |
1.90 |
3.07 |
Four-layer 28 + 1 |
1.15 |
1.43 |
6.31 |
∞ |
Five-layer 28 + 2 |
1 |
1 |
2.25 |
∞ |
|
|
|
|
|

400 Spatial Sound
three-layer 32 for the firstand second-order reproduction increase although they are still within a reasonable range. Therefore, the stability of three-layer 32 is inferior to that of threelayer 28. For firstand second-order reproduction, the condition number of three-layer 28 is smaller than Gauss–Legendre 32. The stability of equiangle 36 is worse. As such, increasing the number of secondary sources does not always improve stability. An appropriate array with fewer secondary sources can also reconstruct a stable sound field.
No top and bottom secondary sources are used in the two kinds of three-layer arrays, which cause holes in arrays and result in instability in higher-order reproduction. Adding secondary sources in top and bottom directions improves stability in reproduction. For example, a four-layer array of 28 + 1 secondary sources (four-layer 28 + 1) is constituted by adding a top secondary source at (θ, ϕ) = (0°, 90°) to the three-layer 28. The condition numbers of four-layer 28 + 1 for first-, second-, and third-order reproduction are 1.15, 1.43, and 6.32, respectively. The four-layer 28 + 1 is appropriate for practical uses, thereby improving the stability of 1- and 2-order reproduction. It is applicable to the third-order reproduction although the condition number of third-order reproduction is high. Figure 9.6 (a) illustrates the position of secondary sources in the four-layer 28 + 1 array, and Figure 9.6 (b) presents a photo of a practical array in Acoustic Lab, South China University of Technology. Moreover, a five-layer array of 28 + 2 secondary sources (five-layer 28 + 2) is constituted by adding a bottom secondary source at (θ, ϕ) = (0°, −90°) to the four-layer 28 + 1. The condition numbers of five-layer 28 + 2 for first, second, and third-order reproduction are 1.00, 1.00, and 2.25, respectively. Therefore, five-layer 28 + 2 further enhances stability, but arranging a secondary source in the bottom layer is inconvenient in practice.
The absence of the top and bottom secondary sources is equivalent to a sharp truncation of the spatial distribution of secondary sources on the upper and low boundaries of space. This sharp discontinuity in spatial distribution leads to ripple oscillations in the spatial spectrum and consequently leads to errors in the reconstructed sound field. This phenomenon is known as the spatial Gibbs effect and analogous to the Gibbs effect in the time or frequency domain signal processing. For example, truncating a time domain signal with a rectangular time window leads to rippling oscillations of a signal magnitude spectrum in the pass-band and the stop-band. Increasing the secondary sources in top and bottom directions eliminates spatial discontinuity and consequently removes the spatial Gibbs effect. When the top and bottom secondary sources are unavailable, applying an appropriate spatial window to driving signals to smoothen spatial discontinuity can reduce the influence of spatial Gibbs effects.
When the condition number of [Y2D] or [Y3D] is large, the pseudoinverse solution of Equation (9.3.10) or (9.3.23) is unstable. For example, this phenomenon occurs in Ambisonic reproduction with irregular 5.1-channel configuration. In this case, the magnitudes or gains of some decoding coefficients are large and even exceed the dynamic range of an electroacoustic
(a) Positions of secondary sources |
(b) Photo of a practical array |
Figure 9.6 Four-layer array with 28 + 1 secondary sources.