A sound reconstruction system is proposed for audio reproduction with extended sweet spot and reduced reflections. An equivalent source method (ESM)-based sound field synthesis (SFS) approach, with the aid of dark zone minimization is adopted in the study. Conventional SFS that is based on the free-field assumption suffers from synthesis error due to boundary reflections. To tackle the problem, the proposed system utilizes convex optimization in designing array filters with both reproduction performance and acoustic contrast taken into consideration. Control points are deployed in the dark zone to minimize the reflections from the walls. Two approaches are employed to constrain the pressure and velocity in the dark zone. Pressure matching error (PME) and acoustic contrast (AC) are used as performance measures in simulations and experiments for a rectangular loudspeaker array. Perceptual Evaluation of Audio Quality (PEAQ) is also used to assess the audio reproduction quality. The results show that the pressure-constrained (PC) method yields better acoustic contrast, but poorer reproduction performance than the pressure-velocity constrained (PVC) method. A subjective listening test also indicates that the PVC method is the preferred method in a live room.
Given scarce number of recorded signals, spatial sound field synthesis with an extended sweet spot is a challenging problem in acoustic array signal processing. To address the problem, a synthesis and upmixing approach inspired by the equivalent source method (ESM) is proposed. The synthesis procedure is based on the pressure signals recorded by a microphone array and requires no source model. The array geometry can also be arbitrary. Four upmixing strategies are adopted to enhance the resolution of the reproduced sound field when there are more channels of loudspeakers than the microphones. Multi-channel inverse filtering with regularization is exploited to deal with the ill-posedness in the reconstruction process. The distance between the microphone and loudspeaker arrays is optimized to achieve the best synthesis quality. To validate the proposed system, numerical simulations and subjective listening experiments are performed. The results demonstrated that all upmixing methods improved the quality of reproduced target sound field over the original reproduction. In particular, the underdetermined ESM interpolation method yielded the best spatial sound field synthesis in terms of the reproduction error, timbral quality, and spatial quality.
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