A Comparison of Recording, Rendering, and Reproduction Techniques for Multichannel Spatial Audio

Romblom D, Guastavino C, King R. A Comparison of Recording, Rendering, and Reproduction Techniques for Multichannel Spatial Audio. In: AES Convention 133. Audio Engineering Society; 2012. Paper 62. Available from: https://aes.org/publications/elibrary-page/?id=16617

@inproceedings{Romblom2012_16617,
  author = {Romblom, David and Guastavino, Catherine and King, Richard},
  title = {{A Comparison of Recording, Rendering, and Reproduction Techniques for Multichannel Spatial Audio}},
  booktitle = {AES Convention 133},
  note = {Paper 62},
  year = {2012},
  month = oct,
  publisher = {Audio Engineering Society},
  url = {https://aes.org/publications/elibrary-page/?id=16617}
}

TY  - CPAPER
TI  - A Comparison of Recording, Rendering, and Reproduction Techniques for Multichannel Spatial Audio
AU  - Romblom, David
AU  - Guastavino, Catherine
AU  - King, Richard
T2  - AES Convention 133
M1  - Paper 62
PY  - 2012
DA  - 2012/10/06
UR  - https://aes.org/publications/elibrary-page/?id=16617
PB  - Audio Engineering Society
LA  - en
AB  - The objective of this project is to compare the relative merits of two different spatial audio recording and rendering techniques within the context of two different multichannel reproduction systems. The two recordings and rendering techniques are "natural," using main microphone arrays, and "virtual," using spot microphones, panning, and simulated acoustic delay. The two reproduction systems are the 3/2 system (5.1 surround), and a 12/2 system, where the frontal L/C/R triplet is replaced by a 12 loudspeaker linear array. Additionally, the project seeks to know if standard surround techniques can be used in combination with wavefront reconstruction techniques such as Wave Field Synthesis. The Hamasaki Square was used for the room effect in all cases, exhibiting the startling quality of increasing the depth of the frontal image.
ER  -