• Journal of the Institute of Electronics and Information Engineers
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• v.50 no.12
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• pp.217-223
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• 2013

This paper proposes a spatial audio reproduction system based on audio fingerprinting that combines the audio fingerprinting and the spatial audio processing. In the proposed system, a salient audio peak pair fingerprint based on modulation spectrum improves the accuracy of the audio fingerprinting system in real noisy environments and spatial audio information as metadata gives a listener a sensation of being listening to the sound in the space, where the sound is actually recorded.

• Electronics and Telecommunications Trends
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• v.34 no.3
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• pp.13-22
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• 2019

Although virtual reality technology may not be deemed as having a satisfactory quality for all users, it tends to incite interest because of the expectation that the technology can allow one to experience something that they may never experience in real life. The most important aspect of this indirect experience is the provision of immersive 3D audio and video, which interacts naturally with every action of the user. The immersive audio faithfully reproduces an acoustic scene in a space corresponding to the position and movement of the listener, and this technology is also called spatial audio. In this paper, we briefly introduce the trend of spatial audio technology in view of acquisition, analysis, reproduction, and the concept of MPEG-I audio standard technology, which is being promoted for spatial audio services.

• MALSORI
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• no.53
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• pp.157-169
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• 2005

This paper proposes an efficiently representing method of spatial cues on multichannel spatial audio coding. The Binaural Cue Coding (BCC) method introduced recently represents multichannel audio signals by means of Inter Channel Level Difference (ICLD) or Source Index (SI). We tried to express more efficiently ICLD and SI information based on Inter Channel Correlation in this paper. We adopt different spatial cues according to ICC and propose a compensation method of empty spectrums created by using SI. We performed a MOS test and measuring spectral distortion. The results show that the proposed method can reduce the bitrate of side information without large degradation of the audio quality.

• Proceedings of the Acoustical Society of Korea Conference
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• autumn
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• pp.153-156
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• 2004

Spatial Audio Coding (SAC)은 낮은 대역폭에서 다채널/다객체 오디오 신호를 전송하기 위해 제안된 기술이다. 본 논문에서는 MPEG 에서 SAC 기술의 평가 방법으로 채택된 Multi-Stimulus test with Hidden Reference and Anchor (MUSHRA) 실험 절차에 대해서 설명한다. 또한 제 69 차 MPEG 회의에서 제안된 4 개 기관의 SAC 기술에 대한 청취실험을 수행하고 그 결과를 분석한다.

• ETRI Journal
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• v.28 no.2
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• pp.219-222
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• 2006

Virtual source location information (VSLI) has been newly utilized as a spatial cue for compact representation of multichannel audio. This information is represented as the azimuth of the virtual source vector. The superiority of VSLI is confirmed by comparison of the spectral distances, average bit rates, and subjective assessment with a conventional cue.

• ETRI Journal
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• v.27 no.5
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• pp.635-638
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• 2005

Spatial audio coding (SAC) is an extremely high compact representation of encoded multi-channel audio material. This paper suggests a multi-channel audio service in the terrestrial digital multimedia broadcasting (T-DMB) system using a novel SAC tool, which is called a virtual source location information (VSLI)-based SAC tool. Intensive experiments are presented to evaluate the validity of the proposed VSLI-based SAC tool, and prototypical systems are also presented to demonstrate the reliability of the proposed multi-channel T-DMB system in real applications.

• The Journal of the Acoustical Society of Korea
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• v.28 no.7
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• pp.630-639
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• 2009

This paper introduces MPEG SAOC (Spatial Audio Object Coding) that has been standardized in MPEG audio subgroup. MPEG SAOC is a trendy parametric coding technology conceptually similar to PS (Parametric Stereo) and the MPEG Surround. SAOC especially parameterizes and codes the spatial information for the object signals comprising a downmixed audio scene and thus lets users render one's preferred scene in an interactive manner.

• ETRI Journal
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• v.27 no.2
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• pp.153-165
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• 2005

The main purpose of a spatial audio system is to give a listener the same impression as if he/she were present in a recorded environment. A dummy head microphone is generally used for such purposes. Because of its human-like shape, we can obtain good spatial sound images. However, its shape is a restriction on its public use and it is difficult to convert a 2-channel recording into multi-channel signals for an efficient rendering over a multi-speaker arrangement. In order to solve the problems mentioned above, a spatial audio system is proposed that uses multiple microphones on a rigid sphere. The system has five microphones placed on special points of the rigid sphere, and it generates audio signals for headphone, stereo, stereo dipole, 4-channel, and 5-channel reproduction environments. Subjective localization experiments show that front/back confusion, which is a common limitation of spatial audio systems using the dummy head microphone, can be reduced dramatically in 4-channel and 5-channel reproduction environments and can be reduced slightly in a headphone reproduction.

• Journal of Broadcast Engineering
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• v.16 no.5
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• pp.714-721
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• 2011

MPEG audio uses the masking effect, high frequency component synthesis based on spectral band replication, and channel expansion based on parametric stereo for efficient compression of audio signals. In this paper, we present an overview of the state-of-the-art channel expansion technology in MPEG audio. We also present technical overviews and application examples to broadcasting services for HE-AAC v.2, MPEG Surround, spatial audio object coding (SAOC), and unified speech and audio coding (USAC) which are MPEG audio codecs based on the channel expansion technology.

• The Journal of the Acoustical Society of Korea
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• v.28 no.7
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• pp.599-609
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• 2009

An overview of the recently finalized multi-channel audio coding standard MPEG Surround is provided. This audio coding standard downmixes multi-channel signals to mono or stereo signals and, simultaneously, extracts spatial parameters for its encoding process. In its decoding process, it reconstructs multi-channel signals based on the downmix signals and spatial parameters. Since the downmix signals are coded in conventional audio coding format such as AAC and MP3 and the spatial parameters require a small amount of information MPEG Surround guarantees high sound quality multi-channel audio at low bit rates. Besides, it is backward-compatible to conventional audio coding techniques because the downmix signals can be played on portable audio devices ignoring the spatial parameter information. In this paper, Part 1 presents an overview of the basic structure of MPEG Surround and Part 2 describes various modes and tools including the binaural mode which supports the virtual 5.1-channel playback via headphones or earphones. The listening test results by various companies and organizations are also presented.