Enveloping3D - Algorithms
Spatial impression, sound sources from the front
The starting point for the development of the Enveloping3D algorithms was the observation already described on the previous page that music recordings with HOA do not produce a satisfactory three-dimensional spatial impression for the listener. Such a spatial impression is familiar to concert goers of classical music from good concert halls - even in pop music it fundamentally improves the overall sound if it is tuned in.
Some current 3D audio recordings make do with a trick: Sound sources are not only placed at the front, but also at the side, at the back and/or at the top. In some cases this works impressively, but on the whole it is a trick that distracts from the lack of true spatial impression. On almost all stages of the world the audience perceives the artists from the front. A usable 3D audio system must be able to represent this situation with impressive spatiality.
The mechanisms of hearing, with regard to this spatial impression and the perception of diffuse sound in general, are still researched insufficiently, as is the understanding of diffuse sound in acoustics incomplete. One can assume, however, that the human perceptual system, as with other hearing phenomena, has several approaches with which the presence of diffuse sound is detected and experienced by the listener.
In this environment, the Enveloping3D algorithms apply by changing the spatiality in the HOA sound field, thereby compensating for unavoidable losses of the transmission system and adapting the recorded soundfield to the conditions of human perception.
The effect of the algorithms on the listener is comparable to the effect of room acoustics in a good concert hall, perhaps even more intense. It also succeeds in resolving a contradiction that comes to the fore much more strongly with 3D audio than with simple stereo: the listener of recordings is accustomed to (virtually) being placed relatively close to the action (i.e. the instruments as sound sources) - but with 3D audio he rightly expects the spatial experience of a concert hall at the same time, which is only possible with a considerable (virtual) distance to the action, the prerequisite for the development of spatial information. Even in concert halls, it is well known that the front rows of seats are not suitable for the experience of the overall sound experience.
First experiences with recordings processed with the algorithms show that the listening experience in pop music also benefits enormously from this kind of spatiality and that correctly implemented 3D audio will lead to a "renaissance of listening" and to a completely new kind of listening culture.
The importance of the algorithms can hardly be overestimated, as they are needed again and again at the various points of the audio transmission process for adjustments.
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