3D Audio

Justin Paterson is Professor of Music Production at London College of Music in the University of West London, where he leads the MA Advanced Music Technology course. He has numerous research publications ranging through journal articles, conference presentations, and book chapters, and is the author of the Drum Programming Handbook. Justin is Co- chair of the Innovation in Music conference series and co- editor of its books. He is also an active music producer. His current research interests are 3D audio, interactive music, and haptic feedback. Together with Professor Rob Toulson and working with Warner Music Group to release prominent artists from their roster, he developed the variPlay interactive- music format, funded by the UK Arts and Humanities Research Council. His current research – funded by Innovate UK through its Audience of the Future programme with consortium partners including Generic Robotics and the Science Museum Group – is around the development of a novel music- production interface in mixed reality that utilizes haptic feedback. Hyunkook Lee is Reader (i.e. Associate Professor) in Music Technology and Director of the Applied Psychoacoustics Laboratory (APL) at the University of Huddersfield, UK. His recent research has advanced understanding about the psychoacoustics of vertical stereophonic localization and spatial impression in 3D sound recording and reproduction. This has provided theoretical bases for the development of several 3D microphone arrays, including Schoeps ORTF- 3D. His current research topics include the six- degrees- of- freedom perception and rendering of virtual acoustics, and the creation and evaluation of a multimodal immersive experience for extended reality applications. From 2006 to 2010, he was a Senior Research Engineer in audio R&D with LG Electronics, South Korea, where he participated in the standardizations of MPEG audio codecs and developed spatial audio algorithms for mobile devices. He received a bachelor’s degree in music and sound recording (Tonmeister) from the University of Surrey, Guildford, UK, in 2002 and a PhD in spatial audio psychoacoustics from the Institute of Sound Recording (IoSR) at the University of Surrey in 2006. He is a Fellow of the Audio Engineering Society (AES) and Vice Chair of the AES High Resolution Audio Technical Committee.

List of Figures

List of Tables

About the Editors

List of Contributors

Preface

Chapter 1: 3D Audio in Broadcasting - Chris Pike

Chapter 2: 3D Audio for Live Sound - Etienne Corteel, Gullaume Le Nost and Frédéric Roskam

Chapter 3: Towards 6DOF: 3D Audio for virtual, augmented and mixed realities - Gareth Llewellyn & Justin Paterson

Chapter 4: Gestural Control for 3D audio - Diego Quiroz

Chapter 5: Psychoacoustics of Height Perception in 3D Audio - Hyunkook Lee

Chapter 6: Ambisonics Understood - Calum Armstrong & Gavin Kearney

Chapter 7: Binaural Audio Engineering - Kaushik Sunder

Chapter 8: Contextual Factors in Judging Auditory Immersion - Sungyoung Kim

Chapter 9: Spatial Music Composition - Natasha Barrett

Chapter 10: Sound and Space: Learning from Artistic Practice - Pedro Rebelo

Chapter 11: Hearing History: A virtual perspective on music performance - Kenny McAlpine, James Cook and Rod Selfridge

Chapter 12: 3D Acoustic Recording - Paul Geluso

Chapter 13: Redefining the Spatial Stage: Non-front Orientated Approaches to Periphonic Sound Staging for Binaural Reproduction - Jo Lord

Chapter 14: Mixing 3D Audio for Film - Kevin Bolen

Index