Abstract
In this article, a systematic overview of various recording and reproduction techniques for spatial audio is presented. While binaural recording and rendering is designed to resemble the human two-ear auditory system and reproduce sounds specifically for a listener’s two ears, soundfield recording and reproduction using a large number of microphones and loudspeakers replicate an acoustic scene within a region. These two fundamentally different types of techniques are discussed in the paper. A recent popular area, multi-zone reproduction, is also briefly reviewed in the paper. The paper is concluded with a discussion of the current state of the field and open problems.
Highlights
Spatial audio aims to replicate a complete acoustic environment, or to synthesize realistic new ones
Binaural Recording and HRTF Measurement. In both binaural recording and the HRTF measurement, a typical setup is to record acoustic properties of the dummy head or head and torso simulator (HATS), which are designed based on the average dimension of a human head/torso and have two high fidelity microphones inserted within each ear to record the two-ear signals
We presented the recording and reproduction techniques for spatial audio
Summary
Spatial audio aims to replicate a complete acoustic environment, or to synthesize realistic new ones. It is designed to resemble the human two-ear auditory system and normally works with headphones [3,4] or a few loudspeakers [5,6], i.e., the stereo speakers It is a complicated process, as a range of localization cues, including the static individual cues captured by the individualized HRTF (head-related transfer function), dynamic cues, due to the motion of the listener, and environmental scattering cues, should be produced in an accurate and effective way for creating realistic perception of the sound in 3D space [7,8]. Two fundamentally different types of rendering techniques are covered, i.e., binaural recording/rendering and soundfield recording/reproduction We review both early and recent methods in terms of apparatus design and signal processing for spatial audio. We conclude with a discussion of the current state of the field and open problems
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