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HRTF Adjustments with Audio Quality Assessments

Yao S. N., Chen L. J.

Archives of Acoustics

2013

Vol. 38, No. 1

55--62

There are an increasing number of binaural systems embedded with head-related transfer functions (HRTFs), so listeners can experience virtual environments via conventional stereo loudspeakers or head- phones. As HRTFs vary from person to person, it is difficult to select appropriated HRTFs from already existing databases for users. Once the HRTFs in a binaural audio device hardly match the real ones of the users, poor localization happens especially on the cone of confusion. The most accurate way to obtain personalized HRTFs might be doing practical measurements. It is, however, expensive and time consuming. Modifying non-individualized HRTFs may be an effort-saving way, though the modifications are always accompanied by undesired audio distortion. This paper proposes a flexible HRTF adjustment system for users to define their own HRTFs. Also, the system can keep sounds from suffering intolerable distortion based on an objective measurement tool for evaluating the quality of processed audio.

Surround mixing in pro tools LE

Mickiewicz W., Jeleń J.

Archives of Acoustics

2008

Vol. 33, No. 1

11-17

Today's multimedia use surround sound extensively, and most often in format 5.1. A lot of popular software packages used for sound production, including Pro Tools in LE version, do not have the ability to form mixes in this format. However, thanks to an appropriate configuration of internal audio buses and the cooperation with the multichannel input/output interface, this mode of operation is possible. Unlike other proposals, based only on send channels to individual output channels, the authors present a new configuration that uses the Pro Tools LE software. Thanks to this configuration, placing an apparent source of sound in the surround space becomes more intuitive, as it is accomplished through the use of panning sliders which determine space coordinates. Direct send channels serve exclusively to form the central and low frequency effect channel (LFE). This configuration was applied to make the final mixdown of a multichannel recording of the choir concert with the use of the Optimized Cardioid Triangle (OCT) microphone array.