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6 results for “immersive audio”
Project's repository for: Co-immersion in Audio Augmented Virtuality: the Case Study of a Static and Approximated Late Reverberation Algorithm
<p>Repository of the VR scene and the audio data used for the experiment reported in the publication <a href="https://ieeexplore.ieee.org/document/10269056" target="_blank" rel="noopener">available in Open Access</a>:</p> <blockquote> <p>Davide Fantini, Giorgio Presti, Michele Geronazzo, Riccardo Bona, Alessandro Giuseppe Privitera and Federico Avanzini (2023) "Co-immersion in Audio Augmented Virtuality: the Case Study of a Static and Approximated Late Reverberation Algorithm" in <em>IEEE Transactions on Visualization and Computer Graphics (ISMAR special issue)</em></p> </blockquote> <p>The file <a href="../api/files/06c374e2-c54d-40f1-ae23-c4c7afbfba5b/README.md">README.md</a> includes some instructions to use the data in this repository.</p> <p> </p> <p><strong>AUDIO</strong></p> <p>The file <a href="../api/files/06c374e2-c54d-40f1-ae23-c4c7afbfba5b/audio.zip">audio.zip</a> includes the Reaper's projects and audio files used in the experiment to provide the auditory stimuli (simultaneous reverberated speeches) to the participants. Each subfolder corresponds to a different Virtual Acoustics Environment (VAE):</p> <ul> <li><<em>LivingRoom</em>|<em>MARCo</em>|<em>METU</em>> <ul> <li><<em>Living Room</em>|<em>MARCo</em>|<em>METU</em>><em>.rpp</em>: Reaper's project for the VAE</li> <li><em>Bin</em>: folder including the speech data convolved with the late reverberation part of the reverb condition \(B\) for each source position in the VAE</li> <li><em>Freeverb</em>: folder including the speech data convolved with the late reverberation part of the reverb condition \(F_\text{d}\) for each source position in the VAE</li> <li><em>HOA</em>: <ul> <li><em>ER</em>: folder including the speech data convolved with the early reflections part (HOA in A-format) of the reference reverb condition \(H\) for each source position in the VAE</li> <li><em>Ref</em>: folder including the speech data convolved with the entire reference reverb condition \(H\) (HOA in A-format) for each source position in the VAE</li> </ul> </li> </ul> </li> </ul> <p>The reverberated speech data in the <a href="../api/files/06c374e2-c54d-40f1-ae23-c4c7afbfba5b/audio.zip">audio.zip</a> file are obtained using third-party datasets:</p> <ul> <li>The anechoic speech data are retrieved from four speakers (F2, F5, M3, M6) of the <a href="https://doi.org/10.5281/zenodo.6257551">ACE challenge corpus</a></li> <li>The Room Impulse Responses (RIR) in High-Order Ambisonics (HOA) format used to reverberate the speeches are retrieved from: <ul> <li><a href="https://doi.org/10.5281/zenodo.5747753">Living Room</a></li> <li><a href="https://doi.org/10.5281/zenodo.3477602">Concert hall (MARCo)</a></li> <li><a href="https://doi.org/10.5281/zenodo.2635758">Classroom (METU)</a></li> </ul> </li> </ul> <p> </p> <p><strong>VR SCENE</strong></p> <p>The file <a href="../api/files/06c374e2-c54d-40f1-ae23-c4c7afbfba5b/VRscene.zip">VRscene.zip</a> includes the Virtual Reality (VR) scene provided to the participants during the experiment via an Oculus Quest 2. This file includes two subfolders:</p> <ul> <li><em>UDPServer</em>: C# code for the UDP server used for sending the OSC messages for head tracking <ul> <li><em>external/SharpOSC.dll</em>: external library (<a href="https://github.com/ValdemarOrn/SharpOSC">SharpOSC</a>) used to interact with the OSC protocol</li> </ul> </li> <li><em>VR_Headtracking</em>: folder including the Unity project with the VR scene</li> </ul> <p> </p>
Augmented Objects as Portals into Virtual Worlds: Using Audio to Create Immersive Experiences in Extended Realities - UMBRELLA AUDIO SPATIALIZATION DEMO
<p><strong>Technical demonstration</strong></p> <p>The results of the projection mapping system in the project are clear from the <a href="https://blog.zhdk.ch/immersivearts/dreaming-of-time-and-space/">main documentation video</a>; however, the impact of the spatial audio system in particular, is best experienced from directly underneath the umbrellas, where one can best appreciate the various levels of mixed reality. Unfortunately, it is difficult to document these effects within the artistic context of the project, and as such, we include a brief set of examples to better demonstrate the 6 degree of freedom sound spatialization capabilities of the umbrella system.</p> <p><em><strong>NOTE:</strong></em> The audio in the following examples is recorded from a fixed perspective (initially underneath the umbrella) and rendered binaurally. Unfortunately, the ambisonic microphone used does not capture directionality very well when the source (in this case, the umbrella speakers) is less than ~1 meter away, and in retrospect, a single channel of pink noise was not a wise choice as a source material, as it appears to cause additional phasing issues. Additionally, the effectiveness of binaural audio varies from listener to listener, so <em>the perceived effect in the video is not as strong as when experienced in person</em>; nonetheless, it is possible to get the basic idea of the spatialization algorithm in action from these examples.</p> <p>PLEASE WEAR HEADPHONES IN ORDER TO EXPERIENCE THE 3D EFFECT.</p> <p>In addition to the view of the entire scene from an outside perspective, several other views of the underlying software are displayed throughout the video, including:</p> <ul> <li> <p>A radar view of the scene (umbrella and sound source) as seen by the space manager software, where the:</p> <ul> <li> <p>Blue circle = umbrella</p> </li> <li> <p>Cyan triangle, yellow square = sound source</p> </li> </ul> </li> <li> <p>A view of elements of the spatialization software running on the umbrella, specifically the:</p> <ul> <li> <p>Relative gain calculations and current output levels of each speaker</p> </li> <li> <p>Results of supporting calculations (e.g. sound location after transformation from the global to local coordinate system, and scaling factors used to attenuate the overall volume of the sound as the distance from the umbrella to the sound changes)</p> </li> </ul> </li> </ul> <p><strong>Demo #1</strong></p> <p>Stationary umbrella with a moving virtual sound source (anchored to a rigid body)</p> <p><strong>Demo #2</strong></p> <p>Rotating umbrella with a stationary sound source (anchored to a rigid body)</p> <p><strong>Demo #3</strong></p> <p>Moving umbrella with a fixed sound source (anchored to a rigid body)</p> <p><strong>Demo #4</strong></p> <p>Moving umbrella with a fixed sound source (anchored to a virtual point in space, located above the microphone); as the umbrella approaches the source, the sound first fades into the room, then collapses into the umbrella, as show in Figure 7 ("Fading between umbrella and room with distance") in the main paper</p>
Video material for: "Immersive audio inside the Greek-Roman theatre of Tyndaris: comparison between past, current and future conditions"
<p>The two folders contain 24 spherical videos with 3OA audio used for the subjective listening tests described in the paper:<br> Lavagna L, Shtrepi L, Farina A, Bevilacqua A, Astolfi A. <em>Immersive audio inside the Greek-Roman theatre of Tyndaris: comparison between past, current and future conditions</em> In: Proceedings of the 24th International Congress on Acoustics. Gyeongju; 2022.<br> <br> The listening test, structured as an AB comparison, were presented inside the virtual reality environment using a Head Mounted Display (HMD), specifically a Meta Quest 2, and open headphones (Sennheiser HD 650).<br> <br> </p>
9+10+8 Immersive Music Production Audio and Documentation Archive.GEIDAI.WH
<p>This repository contains several resources related to research on the effect of floor-level loudspeakers on 3D audio reproduction, undertaken by Will Howie, Toru Kamekawa, Miki Morinaga, and Atsushi Marui at Tokyo University of the Arts, November 2021 - November 2023. Please follow the guidelines of usage found in the READ ME file. "Audio" contains 29ch (9+10+8) interleaved audio files of short excerpts of five immersive recordings of musical sound scenes. "Documentation" contains text-based, diagrammatical, and photographic documentation of the recording sessions that yielded these audio excerpts.</p>
Immersive Audio Remixing of Mono Recordings of the 1950s and 1960s: Rediscovering Musical Treasures from the Past
<p><strong>IMPORTANT NOTE</strong></p> <p>The song <em>B-A-B-Y</em> was written by Isaac Hayes and David Porter, then also arranged by Booker T. Jones and Steve Cropper, and performed by Carla Thomas in 1966.</p> <p>The following binaural sound remixes of <em>B-A-B-Y</em> have been performed in a research context, with four various HRTF profiles coming from the Listen HRTF Database by Ircam, for the AES research paper “Immersive Audio Remixing of Mono Recordings of the 1950s and 1960s: Rediscovering Musical Treasures from the Past”, presented at the 156th AES Convention on June 15-17, 2024, in Madrid, Spain. </p> <p>I, the undersigned Jean Viardot, the first author of this paper, testify that nothing about the composition, the arrangement, or any element of the musical content of the song, has been manipulated to obtain this remix. Only the sound rendering of a digitalized version of the original master has been manipulated and modified to address the research questions being stated in the abovementioned paper.</p> <p>To date (5/11/2024), I have not made any profit with this remix, and I forbid anyone to publish it without my permission. For any intention to publish, broadcast, or market this remix, please contact me beforehand.</p>
Test Database for the Assessment of Immersive Audio Systems
<p>This repository contains a new library of listening material, for the testing of immersive audio systems, that includes synthetic sound sources, speech recordings and short musical and instrumental performances.</p> <p>Evaluation of perceived audio quality is an essential part of spatial audio system design, where listening tests help to reveal any<br> spatial and timbral distortions that occur. Selection of audio stimuli constitutes an important part of listening test methods, as different stimuli will reveal specific properties of the perceived audio. A wide range of listening test material is therefore required, from which the most appropriate stimuli can be chosen based on the context of the test. For researchers in the field of immersive audio, availability of such materials can be sparse due to the differing requirements of surround sound and ambisonic testing. To this end a new test database has been developed, for use in the spatial and timbral evaluation of immersive audio systems.</p> <p>---</p> <p>The data is organised as follows:</p> <p><strong>Source Files</strong><br> - Source_2-Pop (1kHz tone, one frame long (25ms or 50ms))<br> - Source_3rdOctaveBandPinkNoise (10 & 60 second durations, frequency bands; 32, 64, 125, 250, 500, 1k, 2k, 4k, 8k, 16kHz)<br> - Source_500-2000Hz_PinkNoise (Pink noise with frequencies below 500Hz removed & cut-off at 2kHz)<br> - Source_AcousticGuitar&Vocals (4 original pieces consisting of multiple guitar, vocal, drum & shaker tracks)<br> - Source_ConversationalSpeech (selection of short conversations & passages recorded in an anecohic chamber and reverberant classroom)<br> - Source_DTMF_Tones (Tone pairs consisting of lower & higher frequencies with durations of 1s, 10s, 100ms & 200ms)<br> - Source_GreenwichTimeSignal (series of five 0.1 second, 1 kHz tone bursts separated by 0.9 seconds of silence concluded by a 0.5 second 1 kHz tone)<br> - Source_PinkNoise (durations of 1s, 10s, 60s, 100ms & 200ms)<br> - Source_SinePureTones (1s, 10s, 60s, 100ms & 200ms durations, frequencies; 20, 32, 64, 125, 250, 440, 500, 1k, 2k, 4k, 8k, 16k, 20kHz)<br> - Source_SpeechMaterial(Female) (includes sentences & passages; speaker positions & names; azimuth & elevation angles (-180 to +180); Numbers, alphabet & assorted audio terms)<br> - Source_SpeechMaterial(Male) (includes sentences & passages; speaker positions & names; azimuth & elevation angles (-180 to +180); Numbers, alphabet & assorted audio terms)<br> - Source_SpeechMaterial(Mandarin) (includes only sentences & passages)<br> - Source_WhiteNoise (durations of 1s, 10s, 60s, 100ms & 200ms)</p> <p><strong>Ambisonically Encoded Files</strong><br> - XOrder_3rdOctPinkNoise (X, <strong>where X = 1st, 3rd, 5th, 7th</strong>, Order encoded 1/3 Octave Band Pink noise files) <br> - Cube (sources encoded to cube face positions)<br> - 3rdOctPinkNoise_32Hz_-20dBFS_10s_48kHz_24Bit (10 seconds, 32Hz center frequency)<br> - 3rdOctPinkNoise_64Hz_-20dBFS_10s_48kHz_24Bit (10 seconds, 64Hz center frequency)<br> - 3rdOctPinkNoise_125Hz_-20dBFS_10s_48kHz_24Bit (10 seconds, 125Hz center frequency)<br> - 3rdOctPinkNoise_250Hz_-20dBFS_10s_48kHz_24Bit (10 seconds, 250Hz center frequency)<br> - 3rdOctPinkNoise_500Hz_-20dBFS_10s_48kHz_24Bit (10 seconds, 500Hz center frequency)<br> - 3rdOctPinkNoise_1000Hz_-20dBFS_10s_48kHz_24Bit (10 seconds, 1kHz center frequency)<br> - 3rdOctPinkNoise_2000Hz_-20dBFS_10s_48kHz_24Bit (10 seconds, 2kHz center frequency)<br> - 3rdOctPinkNoise_4000Hz_-20dBFS_10s_48kHz_24Bit (10 seconds, 4kHz center frequency)<br> - 3rdOctPinkNoise_8000Hz_-20dBFS_10s_48kHz_24Bit (10 seconds, 8kHz center frequency)<br> - 3rdOctPinkNoise_16000Hz_-20dBFS_10s_48kHz_24Bit (10 seconds, 16kHz center frequency)<br> - Dodecahedron (sources encoded to dodecahedron face positions)<br> - 3rdOctPinkNoise_32Hz_-20dBFS_10s_48kHz_24Bit (10 seconds, 32Hz center frequency)<br> - 3rdOctPinkNoise_64Hz_-20dBFS_10s_48kHz_24Bit (10 seconds, 64Hz center frequency)<br> - 3rdOctPinkNoise_125Hz_-20dBFS_10s_48kHz_24Bit (10 seconds, 125Hz center frequency)<br> - 3rdOctPinkNoise_250Hz_-20dBFS_10s_48kHz_24Bit (10 seconds, 250Hz center frequency)<br> - 3rdOctPinkNoise_500Hz_-20dBFS_10s_48kHz_24Bit (10 seconds, 500Hz center frequency)<br> - 3rdOctPinkNoise_1000Hz_-20dBFS_10s_48kHz_24Bit (10 seconds, 1kHz center frequency)<br> - 3rdOctPinkNoise_2000Hz_-20dBFS_10s_48kHz_24Bit (10 seconds, 2kHz center frequency)<br> - 3rdOctPinkNoise_4000Hz_-20dBFS_10s_48kHz_24Bit (10 seconds, 4kHz center frequency)<br> - 3rdOctPinkNoise_8000Hz_-20dBFS_10s_48kHz_24Bit (10 seconds, 8kHz center frequency)<br> - 3rdOctPinkNoise_16000Hz_-20dBFS_10s_48kHz_24Bit (10 seconds, 16kHz center frequency)<br> - XOrder_500-2000Hz_PinkNoise (X Order encoded 500-2000Hz Pink noise files)<br> - Cube (sources encoded to cube face positions)<br> - 500-2000Hz_PinkNoise_-20dBFS_1s_48kHz_24Bit (1 second)<br> - 500-2000Hz_PinkNoise_-20dBFS_10s_48kHz_24Bit (10 seconds)<br> - 500-2000Hz_PinkNoise_-20dBFS_60s_48kHz_24Bit (60 seconds)<br> - 500-2000Hz_PinkNoise_-20dBFS_100ms_48kHz_24Bit (100 milliseconds)<br> - 500-2000Hz_PinkNoise_-20dBFS_200ms_48kHz_24Bit (200 milliseconds)<br> - Dodecahedron (sources encoded to dodecahedron face positions)<br> - 500-2000Hz_PinkNoise_-20dBFS_1s_48kHz_24Bit (1 second)<br> - 500-2000Hz_PinkNoise_-20dBFS_10s_48kHz_24Bit (10 seconds)<br> - 500-2000Hz_PinkNoise_-20dBFS_60s_48kHz_24Bit (60 seconds)<br> - 500-2000Hz_PinkNoise_-20dBFS_100ms_48kHz_24Bit (100 milliseconds)<br> - 500-2000Hz_PinkNoise_-20dBFS_200ms_48kHz_24Bit (200 milliseconds)<br> - XOrder_BroadcastSources (X Order encoded 2-pip, GTS & DTMF tone files)<br> - 2-Pop_-20dBFS_25ms_48kHz_24Bit (encoded to cube face positions)<br> - 2-Pop_-20dBFS_50ms_48kHz_24Bit (encoded to cube face positions)<br> - DTMF_Tones_-20dBFS_1s_48kHz_24Bit (1 second, encoded to front center position)<br> - DTMF_Tones_-20dBFS_10s_48kHz_24Bit (10 seconds, encoded to front center position)<br> - DTMF_Tones_-20dBFS_100ms_48kHz_24Bit (100 milliseconds, encoded to front center position)<br> - DTMF_Tones_-20dBFS_200ms_48kHz_24Bit (200 milliseconds, encoded to front center position)<br> - GTS_Full_-20dBFS_48kHz_24Bit (encoded to cube face positions)<br> - XOrder_ExampleTestFiles (X Order encoded Pink noise announced example test files e.g. "Front Center" *Noise burst at front center*)<br> - 1Second (announced 1 second pink noise encoded to ITU-R BS.2159-4 and SMPTE 2603 speaker positions)<br> - 100ms_3Bursts (announced 3 bursts of 100ms pink noise encoded to ITU-R BS.2159-4 and SMPTE 2603 speaker positions)<br> - 200ms_3Bursts (announced 3 bursts of 200ms pink noise encoded to ITU-R BS.2159-4 and SMPTE 2603 speaker positions)<br> - XOrder_MovingSources (X Order encoded noise sources that circle azimuth/elevation at specified speeds)<br> - PinkNoise_-20dBFS_60s_48kHz_24Bit (60 seconds, azimuth & elevation pink noise at 45, 90 & 180 degrees per second)<br> - WhiteNoise_-20dBFS_60s_48kHz_24Bit (60 seconds, azimuth & elevation white noise at 45, 90 & 180 degrees per second)<br> - XOrder_PinkNoise (X Order encoded Pink noise files)<br> - Cube (sources encoded to cube face positions)<br> - PinkNoise_-20dBFS_1s_48kHz_24Bit (1 second)<br> - PinkNoise_-20dBFS_10s_48kHz_24Bit (10 seconds)<br> - PinkNoise_-20dBFS_60s_48kHz_24Bit (60 seconds)<br> - PinkNoise_-20dBFS_100ms_48kHz_24Bit (100 milliseconds)<br> - PinkNoise_-20dBFS_200ms_48kHz_24Bit (200 milliseconds)<br> - Dodecahedron (sources encoded to dodecahedron face positions)<br> - PinkNoise_-20dBFS_1s_48kHz_24Bit (1 second)<br> - PinkNoise_-20dBFS_10s_48kHz_24Bit (10 seconds)<br> - PinkNoise_-20dBFS_60s_48kHz_24Bit (60 seconds)<br> - PinkNoise_-20dBFS_100ms_48kHz_24Bit (100 milliseconds)<br> - PinkNoise_-20dBFS_200ms_48kHz_24Bit (200 milliseconds)<br> - XOrder_WhiteNoise (X Order encoded White noise files)<br> - Cube (sources encoded to cube face positions)<br> - WhiteNoise_-20dBFS_1s_48kHz_24Bit (1 second)<br> - WhiteNoise_-20dBFS_10s_48kHz_24Bit (10 seconds)<br> - WhiteNoise_-20dBFS_60s_48kHz_24Bit (60 seconds)<br> - WhiteNoise_-20dBFS_100ms_48kHz_24Bit (100 milliseconds)<br> - WhiteNoise_-20dBFS_200ms_48kHz_24Bit (200 milliseconds)<br> - Dodecahedron (sources encoded to dodecahedron face positions)<br> - WhiteNoise_-20dBFS_1s_48kHz_24Bit (1 second)<br> - WhiteNoise_-20dBFS_10s_48kHz_24Bit (10 seconds)<br> - WhiteNoise_-20dBFS_60s_48kHz_24Bit (60 seconds)<br> - WhiteNoise_-20dBFS_100ms_48kHz_24Bit (100 milliseconds)<br> - WhiteNoise_-20dBFS_200ms_48kHz_24Bit (200 milliseconds)</p> <p>---</p> <p>For any enquiries regarding the data please email: ho581@york.ac.uk</p> <p>Data produced by Harry Ogden at the Audio Lab, Department of Electronics Engineering, University of York<br> Contact: ho581@york.ac.uk</p> <p>Funding was provided by UK Engineering and Physical Sciences Research Council (EPSRC), the Department of Electronic Engineering at the University of York.</p>
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