Tecniche di registrazione e di riproduzione sonora

Tecniche di registrazione e di riproduzione sonora

• Angelo Farina

Physical nature of sound

Origin of Sound:

Origin of Sound:

Thermofluidodynamic phenomenon:

Particle velocity and variable density of medium (air) Human body can detect sound (p and v) with:

ears, but also skin, chest, stomach

The trasducers should detect the same quantities

Transducers: microphones

Output signal:

voltage (Volts), current (Amperes) or charge (Coulombs) From acoustic pressure and particle velocity to physical (electrical) quantities

Pressure

Pressure

Velocity

Velocity

Hybrid

Hybrid

From omnidirectional (100 p and 0 v) to figure of eight (0 p and 100 v)

Microphone directivity patterns

Omnidirectional (100,0) Subcardioid (75,25) Cardioid (50,50)

Hypercardioid (25,75) Figure-of-Eight (0, 100)

Microphones

Variable pattern microphone:

Neumann U89i variable-pattern microphone

Cables

The weak microphone signal (few mV/Pa) has to be amplified and transmitted by means of cables

Signal contamination can occur inside the cable, if not properly shielded (balanced) with two opposite-

polarity signals

Balanced audio cables with XLR connectors (3 pins)

Preamplifiers

They should simply amplify the signals, but often they also process the signals:

• linearly (band pass frequencies), for phantom power supply to mics

• non-linearly (compression, harmonic distortion) it should be avoided during room acoustics measurements.

2-channels tube microphone preamplifier

ADC (Analog to Digital Converter)

Conceptually a black box connecting with two wires:

• Analog input (sound signal)

• Digital output (serial digital interface) Two different types of ADCs:

1. PCM converters (Pulse Code Modulation – CD, DAT, DVD)

2. Bitstream converters (DSD, Direct Stream Digital, also called single-bit, employed in SACD).

ADC (Analog to Digital Converter) 2

PCM Converters

A master clock defines with high precision the instants at which the analog signal has to be

“sampled” (Shannon theorem)

Applications Resolutions

CDs

44100 Hz

DAT, DVD Video

48000 Hz

DVD audio HD rec.

96000 Hz

Special soundcards

192000 Hz

ADC (Analog to Digital Converter) 3

Low-pass filtering must be applied before entering the ADC, otherwise the signal will be aliased

Example: pure tone of 35 kHz

Sample rate 48 kHz, Nyquist freq. 24 kHz, difference = 11 kHz

After digital conversion will be 13 kHz (i.e. 24-11 kHz) Solution: low-pass antialiasing filters, oversampling

ADC (Analog to Digital Converter) 4

Also vertical axis (amplitude) is discretized.

Example: maximum voltage +5V

Discretization with 16 bit (32767 steps) means 90 dB Discretization with 20 bit (524272 steps) means 114 dB Typical resolutions:

16 bits; 20 bits; (24 bits)

High-end, 2-channels ADC unit (24 bits, 192 kHz, Firewire interface)

ADC (Analog to Digital Converter) 5

Bitstream Converters

• The idea arises from oversampling: increasing sample frequency it would be possible to increase amplitude resolution (bits)

• Sample rate: 2.88 MHz and 1 bit resolution: dividing to 2 for 6 time is equivalent to CD audio sample rate, but only with 7 bits!

• In order to enhance high freq. resolution, a proper noise shaping of high order is required, suitable for static (non transient) signals.

• Below 88 Hz the Bitstream converters outperform PCM conv.

ADC (Analog to Digital Converter) 6

Bitstream Converters

• The Bitstream converters are widely employed with SACD system (Super Audio CD), co-developed by Sony and Philips.

• However they are much more expensive that 24 bit 96 kHz PCM

a low-cost multichannel USB-2 soundcard, equipped with 2 microphone preamps

Digital Signal Processing

Waveform editors

sampled waveform displayed as amplitude vs time (time domain)

Recording/playback methods

• Mono followed by amplitude panning (stereo or surround)

• Stereo (ORTF on 2 standard loudspeakers at +/- 30°)

• Discrete ITU 5.1 (from different 5-mikes layouts)

• Full 3D Ambisonics 1^st order (decoding the B-format signal)

• 2D Ambisonics 3^rd order (from Mark Poletti’s circular array microphone)

• Wave Field Synthesis (from the circular array of Soundfield microphones)

• Hybrid methods (Ambiophonics)

Metodo tradizionale

(registrazioni mono “panned”)

• Ciascuna traccia mono registrata rappresenta una sorgente in una diversa posizione, che viene posizionata mediante una

M I X

5 ch.

Surround panner

1 ch.

1 ch.

5 ch.

5 ch.

5 ch.

Leggi di “panning”

• Si è visto sin dagli albori che non conviene posizionare le tracce mono sui singoli canali del surround in modo discreto, ma che conviene utilizzare appropriate leggi di “panning” in modo da alimentare sempre piu’ di un altoparlante per volta

“Pairwise Panning” a potenza costante - il segnale viene inviato

a due altoparlanti per volta

Panning basato sulla teoria di Peter Craven - il segnale viene inviato sempre a tutti 5 gli altoparlanti, con

-0.2 0 0.2 0.4 0.6 0.8 1

-180 -150 -120 -90 -60 -30 0 30 60 90 120 150 180

C L R SL SR

-0.2 0 0.2 0.4 0.6 0.8 1

-180 -150 -120 -90 -60 -30 0 30 60 90 120 150 180

C L R SL SR

Leggi di “panning”

• Un modo alternativo per visualizzare le leggi di panning consiste

nell’ipotizzare l’esistenza di 5 microfoni virtuali con opportuni “pattern” di direttività

C L R SL SR

C L R SL SR

ORTF Stereo

Playback occurs over a pair of loudspeakers, in the

standard configuration at angles of +/- 30°, each being fed by the signal of the corresponding microphone

2 Microphones

60°

2 Loudspeakers

Binaural (Stereo Dipole)

Reproduction occurs over 2 loudspeakers angled at +/- 10°, being fed through a “cross-talk cancellation” digital filtering system

…

2 3

1

Original 2-channels recording of the signals coming from N sources

d_1l d_1r

d_2l d_2r

x_r

x_l

Cross-talk canceller

d_Nl d_Nr N

20°

Binaural (Stereo Dipole#2)

L R

h_ll h_rr

hlr hrl Binaural

stereo signal yl yr

p_l p_r xl

xr

convolver

fll

flr

frl

f_rr

yl y_r

Binaural (Stereo Dipole#3)

  

 

   











































rl lr

rr ll

ll rr

rl rl

lr lr

rr ll

h h

h h

InvFilter InvDen

InvDen h

f

InvDen h

f

InvDen h

f

InvDen h

f _{( ) ( ) ( ) ( ) ( )}

rl lr

rr

ll FFT h FFT h FFT h

h FFT

C     

 









   

C C

Conj

C InvDen Conj

h_ll

h_lr

h_rl

h_rr

f_ll

f_lr

f_rl

f_rr

Binaural (Dual Stereo Dipole)

advantages advantages

 3D sound reproduction3D sound reproduction

 Rotating of the headRotating of the head

 The cross-talk filters The cross-talk filters could equalise also the could equalise also the

loudspeakers loudspeakers

disadvantages disadvantages

 Low frequenciesLow frequencies

 Coloration outside the Coloration outside the

“sweet spot

“sweet spot””

Scheme

Subwoofer

Binaural (Dual Stereo Dipole#2)

Frontal Rear

Quested 2108 monitors Quested F11P monitors

Array “discreti” di microfoni

• Sono stati proposti svariati standard di

posizionamento di 5 microfoni discreti con

opportuna caratteristica direttiva

Array discreti di microfoni

• In un sistema discreto, il segnale di ogni singolo microfono va ad alimentare un singolo altoparlante

Array “discreti” di microfoni

• Williams MMA

Schema del sistema

microfonico Williams MMA C : Cardioide, 0°

L, R : Cardioide, ± 40°

LS, RS : Cardioide, ± 120°

• ^INA-5

Schema del sistema microfonico INA-5 C : Cardioide, 0°

L, R : Cardioide, ± 90°

LS, RS : Cardioide, ± 150°

ITU 5.1 surround

OCT

73 cm

Schematic of the setup C : Cardioid, 0°

L, R : Super Cardioid, ± 90°

LS, RS : Cardioid, ± 180^°

Array discreti di microfoni

Perchè hanno avuto ben poco successo?

• Perchè consentono poco controllo in fase di registrazione

• Forniscono un angolo di ripresa fissato, a meno che siano realizzati con una struttura snodata, peraltro difficile da regolare sul campo

• Non consentono facilmente di mixare i segnali provenienti da tracce mono registrate a breve distanza dalla sorgente (ad

esempio voci dei cantanti, strumenti singoli, etc.)

• I pattern direttivi degli usuali microfoni per riprese stereo (cardioidi, ipercardioidi) non corrispondono all’esigenza di

avere una legge di “panning” omogenea rispetto alla geometria non regolare del layout degli altoparlanti di un sistema

surround 5.1

Ambisonics 3D 1

order

Reproduction occurs over an array of 8-24 loudspeakers, through an Ambisonics decoder

Original Room Sound Source

SoundField Microphone

B-format 4- channels signal

(WXYZ) Ambisonics decoder

Speaker array in the reproduction room

3D extension of the pressure-velocity measurements

• The Soundfield microphone allows for simultaneous measurements of the omnidirectional pressure and of the three cartesian components of particle velocity (figure-of-8 patterns)

Directivity of transducers

Soundfield ST-250 microphone

0 0.2 0.4 0.6 0.8 1 1.2 1.4 1.6

0

30

60

90

120

150 180

210 240 270

300 330

125 Hz

0 0.2 0.4 0.6 0.8 1 1.2 1.4 1.6

0

30

60

90

120

150 180

210 240 270

300 330

250 Hz

0 0.2 0.4 0.6 0.8 1 1.2 1.4 1.6

0

30

60

90

120

150 180

210 240 270

300 330

500 Hz

0 0.2 0.4 0.6 0.8 1 1.2 1.4 1.6

0

30

60

90

120

150 180

210 240 270

300 330

1000 Hz

0 0.2 0.4 0.6 0.8 1 1.2 1.4 1.6

0

30

60

90

120

150 210

240 270

300 330

2000 Hz

0 0.2 0.4 0.6 0.8 1 1.2 1.4 1.6

0

30

60

90

120

150 210

240 270

300 330

4000 Hz

0 0.2 0.4 0.6 0.8 1 1.2 1.4 1.6

0

30

60

90

120

150 210

240 270

300 330

8000 Hz

0 0.2 0.4 0.6 0.8 1 1.2 1.4 1.6

0

30

60

90

120

150 210

240 270

300 330

16000 Hz

A-format microphone arrays

• Today several alternatives to Soundfield microphones do exists. All of them are providing “raw” signals from the 4 capsules, and the conversion from these signals (A-format) to the standard Ambisonic signals (B-format) is performed digitally by means of software running on the computer

Ambisonics encoding

Oppure dalla sintesi dei 4 canali (WXYZ) a partire dalla loro definizione matematica (armoniche sferiche di ordine 0 ed 1)

Il segnale B-format deriva da un microfono Soundfield…

Algoritmo per decoding Ambisonics

• Il segnale di ciascun altoparlante è semplicemente un “mix” dei 4

canali di trasmissione (WXYZ)

• I guadagni dipendono solo dalla posizione di ciascun altoparlante

• Viene aggiunto un piccolo filtro FIR specifico per ogni altoparlante, per equalizzarne la risposta

W X Y Z

G1 G2 G2 G2

cos 1

cos 1

cos 1

InvFilt1

cos 2

cos 2

cos 2

InvFilt₂ r

y z

x







Ambisonics decoding

vantaggi vantaggi: :

 TridimensionaleTridimensionale

 Buona percezione dei Buona percezione dei suoni laterali

suoni laterali

 Buona risposta ai bassiBuona risposta ai bassi

 ““sweet spot” largo, sweet spot” largo, nessuna colorazione nessuna colorazione

uscendo da esso uscendo da esso

svantaggi svantaggi: :

 Non isotropicoNon isotropico

 Richiede un decoding Richiede un decoding avanzato (Y trattato avanzato (Y trattato

differentemente da X,Z) differentemente da X,Z)

Bi-square Ambisonics array

Bi-square Ambisonics array

8 Turbosound Impact 50 loudspeakers 8 Turbosound Impact 50 loudspeakers: :

 Light, easily fixed and orientedLight, easily fixed and oriented

 Good frequency responseGood frequency response

 Very little distortionVery little distortion

Front-Right

Down-Right Up-Right

BSS Soundweb 9088-II (8 ins, 8 outs) BSS Soundweb 9088-II (8 ins, 8 outs)

Sistema DSP per decoding Ambisonics

SID Futureclient fanless PC (Pentium-III 1 GHz)

SID Futureclient fanless PC (Pentium-III 1 GHz)

Programmazione del decoder

sul processore digitale SoundWeb

Effetto dell’equalizzazione FIR di ciascun altoparlante

Funzione di tarsferimento Filtro inverso a fase Effetto equalizzante del

Decoder Ambisonics via software

Audiomulch VST host

Gerzonic bPlayer

Gerzonic Emigrator

Sale Ambisonics 3D

University of Ferrara ASK – Reggio Emilia

Sistema di gestione audio completo

Philips 15” Brilliance LCD display Logitech wireless keyboard & mouse Echo Layla Soundboard (8 ins, 10 outs)

BSS Soundweb digital processor 2 Crown K1 amplifiers

QSC CX168 8-channels amplifier Signum Data Futureclient fanless PC

Metodi ibridi (Ambiophonics)

• Sistema Ambiophonics 3D (10 altoparlanti):

Ambiophonics

In sostanza, vengono impiegati simultaneamente il sistema Ambisonics e gli Stereo-Dipoles