M. F. Davis, C. Q. Robinson, and M. S. Vinton, “Signal Models and Upmixing Techniques for Generating Multichannel Audio,” in Proc. AES Conference: 40th International Conference: Spatial Audio: Sense the Sound of Space, Oct. 2010, Paper 5-2. [Online]. Available: https://aes.org/publications/elibrary-page/?id=15573
Davis MF, Robinson CQ, Vinton MS. Signal Models and Upmixing Techniques for Generating Multichannel Audio. In: AES Conference: 40th International Conference: Spatial Audio: Sense the Sound of Space. Audio Engineering Society; 2010. Paper 5-2. Available from: https://aes.org/publications/elibrary-page/?id=15573
@inproceedings{Davis2010_15573,
author = {Davis, Mark F. and Robinson, Charles Q. and Vinton, Mark S.},
title = {{Signal Models and Upmixing Techniques for Generating Multichannel Audio}},
booktitle = {AES Conference: 40th International Conference: Spatial Audio: Sense the Sound of Space},
note = {Paper 5-2},
year = {2010},
month = oct,
publisher = {Audio Engineering Society},
url = {https://aes.org/publications/elibrary-page/?id=15573}
}
TY - CPAPER
TI - Signal Models and Upmixing Techniques for Generating Multichannel Audio
AU - Davis, Mark F.
AU - Robinson, Charles Q.
AU - Vinton, Mark S.
T2 - AES Conference: 40th International Conference: Spatial Audio: Sense the Sound of Space
M1 - Paper 5-2
PY - 2010
DA - 2010/10/06
UR - https://aes.org/publications/elibrary-page/?id=15573
PB - Audio Engineering Society
LA - en
AB - Most systems for upmixing stereo content have traditionally used sums and differences of source signals, an arrangement referred to as matrixing. Matrix-based upmixers have evolved from passive operation to sophisticated active matrix designs, and have achieved widespread commercial use. This paper introduces a new algorithm for upmixing from two to five channels using a hybrid of both scale factor and variable matrix techniques. The algorithm applies equally well to both Lt/Rt-encoded and conventional stereo programs. It improves on traditional methods, providing better reproduction of the front sound stage, while anchoring center images for off center listeners and creating more compelling ambience and envelopment. Data from subjective listening tests are provided to support these conclusions.
ER -