• Journal of Information Technology and Architecture
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• v.11 no.2
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• pp.225-233
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• 2014

In this paper an architecture for 3D audio core algorithm evaluation database system. Due to increase of 3D audio system through multimedia device, an evaluation system is required for evaluating the 3D core algorithms for developing 3D audio system. Conventional evaluation systems have some problems. Researchers have to learn usage of evaluation system, in addition it is inefficient to use and search audio sources because audio sources are not indexed in general. To solve these problems, we design the architecture of 3D audio core algorithm evaluation database system enabling to automatically evaluate core algorithms using database management system. Also we define XML metadata scheme for information of saved audio source in database. This approach allows improving efficiency of search audio source and use of audio database.

• Proceedings of the KSPS conference
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• 2006.11a
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• pp.113-116
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• 2006

In this paper, we first implement an audio playback system for virtual reality by providing 3D audio effects to listeners. In general, such a 3D audio playback system utilizes a sound localization technique using head related transfer function (HRTF) to generate 3D audio effect. However, the 3D audio effect is degraded due to the crosstalk in the stereo loudspeaker environment. To enhance the 3D sound effect, we implement the crosstalk cancellation technique proposed by Atal and Schroeder and apply it to the 3D audio system.

• Journal of Korea Multimedia Society
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• v.8 no.6
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• pp.807-813
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• 2005

The production and authoring of digital multimedia contents are most important fields in multimedia technology. Nowadays web-based technology and related multimedia software technology are growing in the IT industry and these technologies are evolving most rapidly in our life. The technology of digital audio and video processing is utilizing rapidly to improve quality of our life, Also we are more interested in high sense and artistic feeling in the music and entertainment areas by use of three dimensional (3D) digital sound technology continuously as well as 3D digital video technology. The service field of digital audio contents is increasing rapidly through the Internet. And the society of Internet users wants the audio contents service with better quality. Recently Internet users are not satisfying the sound quality with 2 channels stereo but seeking the high quality of sound with 5,] channels such as 3D audio of the movie films. But it might be needed proper hardware equipments for the service of 3D sound to satisfy this demand. In this paper, we expand the simple 3D audio generator developed and propose a web-based music bank by the software development of 3D audio generation player in 3D sound environment with two speakers minimizing hardware equipments, Also we believe that this study would contribute greatly to digital 3D sound service of high quality for music and entertainment mania.

• The Journal of the Acoustical Society of Korea
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• v.22 no.7
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• pp.592-602
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• 2003

This paper aims to describe the basic structure of novel object-based 3D audio broadcasting system To overcome current uni-directional audio broadcasting services, the object-based 3D audio broadcasting system is designed for providing the ability to interact with important audio objects as well as realistic 3D effects based on the MPEG-4 standard. The system is composed of 6 sub-modules. The audio input module collects the background sound object, which is recored by 3D microphone, and audio objects, which are recorded by monaural microphone or extracted through source separation method. The sound scene authoring module edits the 3D information of audio objects such as acoustical characteristics, location, directivity and etc. It also defines the final sound scene with a 3D background sound, which is intended to be delievered to a receiving terminal by producer. The encoder module encodes scene descriptors and audio objects for effective transmission. The decoder module extracts scene descriptors and audio objects from decoding received bistreams. The sound scene composition module reconstructs the 3D sound scene with scene descriptors and audio objects. The 3D sound renderer module maximizes the 3D sound effects through adapting the final sound to the listner's acoustical environments. It also receives the user's controls on audio objects and sends them to the scene composition module for changing the sound scene.

• ETRI Journal
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• v.38 no.5
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• pp.829-837
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• 2016

In this paper, we introduce extension tools for MPEG Surround, which were recently adopted as MPEG-H 3D Audio tools by the ISO/MPEG standardization group. MPEG-H 3D Audio is a next-generation technology for representing spatial audio in an immersive manner. However, considerably large numbers of input signals can degrade the compression performance during a low bitrate operation. The proposed extension of MPEG Surround was basically designed based on the original MPEG Surround technology, where the limitations of MPEG Surround were revised by adopting a new coding structure. The proposed MPEG-H 3D Audio technologies will play a pivotal role in dramatically improving the sound quality during a lower bitrate operation.

• Journal of the Korean Institute of Intelligent Systems
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• v.21 no.2
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• pp.153-158
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• 2011

This paper presents subjective experimental results to understand how audio should be changed when a video clip is watched in 3D than 2D. This paper divided auditory perceptual information into two categories; distance and azimuth that a sound source contributes mostly, and spaciousness that scene or environment contribute mostly. According to the experiment for distance and azimuth, i.e. sound localization, we found that distance and azimuth of sound sources were magnified when heard with 3D than 2D video. This lead us to conclude 3D sound for localization should be designed to have more distance and azimuth than 2D sound. Also we found 3D sound are preferred to be played with not only 3D video clip but also 2D video clip. According to the experiment for spaciousness, we found people prefer sound with more reverberation when they watch 3D video clips than 2D video clips. This can be understood that 3D video provides more spacial information than 2D video. Those subjective experimental results can help audio engineer familiar with 2D audio to create 3D audio, and be fundamental information of future research to make 2D to 3D audio conversion system. Furthermore when designing 3D broadcasting system with limited bandwidth and with 2D TV supportive, we propose to consider transmitting stereoscopic video, audio with enhanced localization, and metadata for TV sets to generate reverberation for spaciousness.

• Broadcasting and Media Magazine
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• v.13 no.1
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• pp.82-96
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• 2008

3D Audio Technologies include whole signal processing steps from acquisition to reproduction through encoding and transmitting technologies. However, there is a certain difference on adapted technologies according to audio presentation environments, because the presentation environment is the last step to provide 3D audio th listeners. In this paper, we describe variable 3D audio technologies to adapt variable audio presentation environments for consuming music contents.

• 한국정보컨버전스학회:학술대회논문집
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• 2008.06a
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• pp.53-56
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• 2008

This paper reports on the ACQA(Animated agent for Conversational Question Answering) project conducted at LIMSI. The aim is to design an expressive animated conversational agent(ACA) for conducting research along two main lines: 1/ perceptual experiments(eg perception of expressivity and 3D movements in both audio and visual channels): 2/ design of human-computer interfaces requiring head models at different resolutions and the integration of the talking head in virtual scenes. The target application of this expressive ACA is a real-time question and answer speech based system developed at LIMSI(RITEL). The architecture of the system is based on distributed modules exchanging messages through a network protocol. The main components of the system are: RITEL a question and answer system searching raw text, which is able to produce a text(the answer) and attitudinal information; this attitudinal information is then processed for delivering expressive tags; the text is converted into phoneme, viseme, and prosodic descriptions. Audio speech is generated by the LIMSI selection-concatenation text-to-speech engine. Visual speech is using MPEG4 keypoint-based animation, and is rendered in real-time by Virtual Choreographer (VirChor), a GPU-based 3D engine. Finally, visual and audio speech is played in a 3D audio and visual scene. The project also puts a lot of effort for realistic visual and audio 3D rendering. A new model of phoneme-dependant human radiation patterns is included in the speech synthesis system, so that the ACA can move in the virtual scene with realistic 3D visual and audio rendering.

• The Transactions of the Korean Institute of Electrical Engineers D
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• v.54 no.12
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• pp.716-722
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• 2005

In this paper, we propose the audio watermarking algorithm based on the critical band of HAS(human auditory system) without audibly affecting the quality of the watermarked audio and implement the detecting algorithm on the BSS(broadcast synchronizing system) for testing the proposed algorithm. According to the audio quality test, the SNR(signal to noise ratio) of the watermarked audio objectively is 66dB above. In the robustness test, the proposed algorithm can detect the watermark more than $90\%$ from various compression(MP3, AAC), A/D and D/A conversions, sampling rate conversions and especially asynchronizing attacks. The BSS automatically switches the programs between the key station and the local station in broadcasting system. The result of reliability test of implemented system by using the real broadcasting audio has no false positive error during 30 days. Because of detecting once processing per 0.5 second, we can judge that the false positive error does not occur.

• Proceedings of the Korean Society of Broadcast Engineers Conference
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• 2012.07a
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• pp.171-173
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• 2012

본 논문에서는 최근 MPEG 오디오 서브그룹에서 활발히 논의 중인 3D Audio 표준화 동향에 대해서 소개하고, 관련한 국내외 기관들의 기술개발 현황에 대해서 알아본다. MPEG 3D Audio 는 NHK 22.2 채널방송과 같은 실감 오디오 서비스를 고다채널(High-Order Multichannel)로 특징짓고, 이러한 서비스를 위한 다채널 오디오 부호화 및 복호화 기술과 다양한 출력채널 환경에 적응할 수 있는 렌더링(rendering) 기술을 표준화 대상으로 규정하고 있다.