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This research introduces analyzing flows of the measurement tool briefly, and shows measured results of physical and/or phantom sound locations detected from sound intensity information in some different 3D reproduction environments including commercial audio strategies such as Dolby Atmos and 22.2ch, and a wave theory based Boundary Surface Control system, BoSC. From this point of view, development of a simple method to obtain relationship between loudspeaker positions and source locations rendered by a 3D reproduction system would be helpful. Therefore, further skill is now required to design acoustic specifications of their production studios. On the audio industries, various 3D sound reproduction systems have already been commercialized. The tool, VSV (Virtual Source Visualizer), has already being used for practical acoustic design works, and the authors have also begun to use it for evaluating acoustical features of 3D sound rendering systems. The authors have developed a simple measurement/analyzing tool which visualizes 3D acoustical properties of sound by using sound intensity information. A comparison of their techniques with those described in Blauert (1983), Shaw (1974), Mehrgardt and Mellert (1977), Middlebrooks, Makous, and Gree. The technique used by Wightman and Kistler (1989a) exemplifies a laboratory-based HRTF measurement procedure where accuracy and replicability of results were deemed crucial. Otherwise, the use of one HRTF set over another is a purely subjective judgment based on criteria other than localization performance. It is best when any single nonindividualized HRTF set is psychoacoustically validated using a 113 statistical sample of the intended user population, as shown in Chapter 2. The Convolvotron 3-D audio system (Wenzel, Wightman, and Foster, 1988) has used such sets particularly because elevation accuracy is affected negatively when listening through a bad localizers ears (see Wenzel, et al., 1988). If the localization ability of the person is relatively accurate or more accurate than average, it might be reasonable to use these HRTF measurements for other individuals. (One can sense a future 3-D sound system where the pinnae of various famous musicians are simulated.) A set of HRTFs from a good localizer (discussed in Chapter 2) could be used if the criterion were localization performance. But another approach might be to use the features of a person who has desirable HRTFs, based on some criteria. In 3-D sound applications intended for many users, we want might want to use HRTFs that represent the common features of a number of individuals. However, no phase data is included in the tables group delay simulation would need to be included in order to account for ITD.
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Available for Download as 16/44.This paper gives HRTF magnitude data in numerical form for 43 frequencies between 0.2-12 kHz, the average of 12 studies representing 100 different subjects.All files fully embedded with extensive metadata.English and Foreign Crowds: a good variety of nationalities in many different crowd situations: from boxing and barbecue crowds to Afghan and German crowds.Rivers and Waterfalls, means you will never have to record another no-nonsense natural water sound.
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