Frequency-Dependent Directional Feedback Delay Network

Alary, Benoit; Politis, Archontis

doi:10.1109/icassp40776.2020.9054717

Cited by 6 publications

(10 citation statements)

References 13 publications

(15 reference statements)

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“…The set of K directions should be carefully selected as more directions will increase the computational complexity of the system, while a lower K value will smooth out the directional features. In a previous study, a set of 12 directions equally distributed around the sphere has been shown to offer satisfactory results [23].…”

Section: Directional Late Reverberationmentioning

confidence: 95%

“…A DFDN [22], [23] is a delay network reverberator which extends the design of an FDN [11] to produce multichannel reverberation with directional decay characteristics. In a DFDN, each delay path contains a group of K delay lines to carry a multichannel signal (Fig.…”

Section: B Directional Feedback Delay Networkmentioning

confidence: 99%

“…2). In this method, the channels may be defined as SH [22] or incident plane-waves distributed around a sphere [23]. In this article, we use the plane-wave…”

Section: B Directional Feedback Delay Networkmentioning

confidence: 99%

“…The overall characteristics of the decay are reproduced while some smoothing occurs due in part to the ambisonics processing. The output of this reverberator may be encoded for binaural sound reproduction [23].…”

Section: F Output Analysis Of a Dfdnmentioning

confidence: 99%

“…Recently, modified versions of the FDN were proposed to produce direction-dependent reverberation characteristics using a directional feedback delay network (DFDN) [22], [23]. In this article, we propose a method to extract key directional characteristics from a set of captured SRIRs to produce a compact data set of properties used to specify the parameters of a DFDN for auralization.…”

Section: Introductionmentioning

confidence: 99%

See 4 more Smart Citations

A Method for Capturing and Reproducing Directional Reverberation in Six Degrees of Freedom

Alary

Välimäki

2021

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

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The reproduction of acoustics is an important aspect of the preservation of cultural heritage. A common approach is to capture an impulse response in a hall and auralize it by convolving an input signal with the measured reverberant response. For immersive applications, it is typical to acquire spatial impulse responses using a spherical microphone array to capture the reverberant sound field. While this allows a listener to freely rotate their head from the captured location during reproduction, delicate considerations must be made to allow a full six degrees of freedom auralization. Furthermore, the computational cost of convolution with a high-order Ambisonics impulse response remains prohibitively expensive for current real-time applications, where most of the resources are dedicated towards rendering graphics. For this reason, simplifications are often made in the reproduction of reverberation, such as using a uniform decay around the listener. However, recent work has highlighted the importance of directional characteristics in the late reverberant sound field and more efficient reproduction methods have been developed. In this article, we propose a framework that extracts directional decay properties from a set of captured spatial impulse responses to characterize a directional feedback delay network. For this purpose, a data set was acquired in the main auditorium of the Finnish National Opera and Ballet in Helsinki from multiple source-listener positions, in order to analyze the anisotropic characteristics of this auditorium and illustrate the proposed reproduction framework.

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Section: Directional Late Reverberationmentioning

confidence: 95%

Section: B Directional Feedback Delay Networkmentioning

confidence: 99%

“…2). In this method, the channels may be defined as SH [22] or incident plane-waves distributed around a sphere [23]. In this article, we use the plane-wave…”

Section: B Directional Feedback Delay Networkmentioning

confidence: 99%

Section: F Output Analysis Of a Dfdnmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

See 3 more Smart Citations

A Method for Capturing and Reproducing Directional Reverberation in Six Degrees of Freedom

Alary

Välimäki

2021

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

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Perceptually Motivated Spatial Audio Scene Description and Rendering for 6-DoF Immersive Music Experiences

Jot,

Carpentier,

Warusfel

2023

2023 Immersive and 3D Audio: From Architecture to Automotive (I3DA)

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In recorded, live, virtual-or augmented-reality immersive musical experiences, the audio presentation may not be prescribed by the geometrical and physical model of a room or acoustic enclosure (as may often be expected, for instance, in architectural acoustic design and in video games or virtual reality). In previous work, a generic spatial audio rendering engine and interface were proposed, compatible with both physically-and perceptually-based representations of interactive audio scenes navigable at playback time. This parametric model builds and extends upon concepts proposed previously in spatial audio programming or media standard specifications, including OpenAL and MPEG-4. It enables prioritizing auditory plausibility over simulation exactness, facilitating low-complexity implementation even for large multi-object audio scenes, by sharing a "multiroom" acoustic reverberation and reflections processor. In this paper, we review seminal research on subjective room acoustics and the design of the perceptually based spatialization interface realized in IRCAM Spat. The resulting "Spatial Audio Object Workstation" is consistent with familiar content creation tools and workflows, and enhances their functionality with fine control of the spatial motion (including distance and orientation), directionality, presence, and reverberance of each sound source. Finally, we propose a generic immersive audio coding format as a container of "6-DoF spatial audio objects" to advance a future interoperable audio content and experience ecosystem.

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