A parametric model for the synthesis of binaural room impulse responses

Stade, Philipp; Arend, Johannes M.; Pörschmann, Christoph

doi:10.1121/2.0000573

Cited by 8 publications

(14 citation statements)

References 9 publications

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“…With the goal of finding a balance between computational cost and perceived quality, several parametric reverberation models have been proposed [40][41][42][43][44][45][46][47]. Most of them aim to alleviate computational costs by rendering early reflections with a higher temporal and spatial accuracy than late reverberation, based on the concept of mixing time, i.e., the instant after which the RIR does not perceivably change across different listeners' positions or orientations within the room (see Figure 1) [48].…”

Section: Simulating Reverberation Efficientlymentioning

confidence: 99%

Reverberation and its Binaural Reproduction: The Trade-off between Computational Efficiency and Perceived Quality

Engel¹,

Picinali²

2022

Advances in Fundamental and Applied Research on Spatial Audio

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Accurately rendering reverberation is critical to produce realistic binaural audio, particularly in augmented reality applications where virtual objects must blend in seamlessly with real ones. However, rigorously simulating sound waves interacting with the auralised space can be computationally costly, sometimes to the point of being unfeasible in real time applications on resource-limited mobile platforms. Luckily, knowledge of auditory perception can be leveraged to make computational savings without compromising quality. This chapter reviews different approaches and methods for rendering binaural reverberation efficiently, focusing specifically on Ambisonics-based techniques aimed at reducing the spatial resolution of late reverberation components. Potential future research directions in this area are also discussed.

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Section: Simulating Reverberation Efficientlymentioning

confidence: 99%

Reverberation and its Binaural Reproduction: The Trade-off between Computational Efficiency and Perceived Quality

Engel¹,

Picinali²

2022

Advances in Fundamental and Applied Research on Spatial Audio

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“…Parametric methods achieve this by estimating directional parameters and synthesizing loudspeaker or headphone responses. Many variants of such methods have been introduced, such as Spatial Impulse Response Rendering (SIRR) [1] 1 , Higher Order SIRR (HO-SIRR) [2], the Spatial Decomposition Method (SDM) [3], a variant applied to first-order Ambisonics responses (ASDM) [4], a framework referred to as Reverberant Spatial Audio Object [5], and a parametric synthesis method applied in [6]. The methods may employ different microphone arrays for measurement (e.g.…”

Section: Introductionmentioning

confidence: 99%

Parametric Late Reverberation from Broadband Directional Estimates

Meyer-Kahlen

Schlecht

Lokki

2021

2021 Immersive and 3D Audio: From Architecture to Automotive (I3DA)

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Several parametric spatial room impulse response rendering methods use broadband directional estimates, whereby based on sample-by-sample direction-of-arrival estimation, a single channel room impulse response is distributed to multiple loudspeakers. To this end, it has been unclear how such simple parametric processing behaves in the late part of the response. To assess this question, we use simulations and a measurement to show that the commonly applied estimation methods based on the pseudo intensity vector and time difference of arrival estimation do preserve the directional information in the late response. Also, we show that estimated directional differences can be audible under best case conditions. As broadband rendering can sound 'rough' or 'grainy' for transient input signals due to insufficient pulse density in individual reproduction channels, we use a method to synthesize smooth sounding spatial reverberation. For this, the broadband estimates are used to calculate directional energy envelopes, which are applied to filtered noise sequences. The findings presented here help assessing and improving spatial room impulse response processing methods.

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“…For example, Gardner [30] or Takeuchi [31] suggest methods of binaural reproduction using loudspeakers. Many studies instead employ headphone reproduction [32,33,34,35,36,37]. This option is more portable and affordable for users than stationary loudspeaker arrays that might be as hard to access as opera venues.…”

Section: Methods For Binaural Sound Simulationmentioning

confidence: 99%

“…The present project opts for using headphone reproduction and uses features of some of these approaches. For example, it includes separating the specular and diffuse parts of the reverberation [32,33]. It also separates source-related data from room-related data and receiver-related data [37].…”

Section: Methods For Binaural Sound Simulationmentioning

confidence: 99%

“…There are several potentially interesting object-based methods that do not require a physical presence of the singer in specially equipped spaces: Spatial Impulse Response Rendering (SIRR), Directional Audio Coding (DirAC), Spatial Decomposition Method (SDM), Reverberant Spatial Audio Object (RSAO) [33] and a Parametric Model (PM) suggested by Stade [32]. The two latter methods are of particular interest.…”

Section: The Reverberant Spatial Audio Object (Rsao) and Parametric M...mentioning

confidence: 99%

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Sonic simulation in VR/AR contexts

Yagunova¹

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<p>Opera singers find it challenging to access performance venues for rehearsal. The challenges include the busy timetables of venues and limited travel windows caused by budget or pandemic restrictions. Limited rehearsal can impair a singer’s performance. Virtual reality and augmented reality technologies (VR and AR) make it possible for singers to rehearse remotely. Most VR and AR technologies focus on visual representation. Auditory representation receives less attention. The majority of self-voice auralization methods are limited in venue choice, customizability and degrees of freedom. They may also require specialised equipment and inaccessible or unaffordable rehearsal spaces. Two methods are developed in this thesis that can address these limitations. They are based on geometrical acoustics (GM) and on Ambisonics (AM). Both methods focus on the simulation of stage acoustic conditions such as those encountered at performance venues. The thesis provides an overview of these methods. Also, real-time implementation and subjective evaluation of the GM are discussed. Listener tests were conducted with nine voice students and professionals. The evaluations examine the perception of sound field rotation, personal preference for simulations and the plausibility of the simulation. The evaluations were performed inside the simulated venue so that a blind comparison could be conducted between the real and simulated acoustics.</p>

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A parametric model for the synthesis of binaural room impulse responses

Cited by 8 publications

References 9 publications

Reverberation and its Binaural Reproduction: The Trade-off between Computational Efficiency and Perceived Quality

Reverberation and its Binaural Reproduction: The Trade-off between Computational Efficiency and Perceived Quality

Parametric Late Reverberation from Broadband Directional Estimates

Sonic simulation in VR/AR contexts

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