Improve Your

Surroundings
andrew j. horsburgh, BSc Hons
robert davis, BSc Hons

A Feature Presentation!
This presentation will cover the basic principles
of spatial audio, surround sound and production
techniques.
Focusing on the spatial audio format
Ambisonics, specifically the Production and
reproduction of Ambisonic soundfields.

How to define your surroundings?

Any sound that has ever been made has
identifiable characteristics belonging to the
sound and its environment.
These characteristics are minute, in all
directions and contain specific identifiable
spatial or acoustical properties.
Reproducing these minute characteristics is
one aim of the Ambisonic format.

Buzz-word Bingo
Many artists, producers and engineers is
having the ability to make things an exact
acoustical replica of a space.
Buzz-words like 'immersion', 'depth', 'realism'
often used to describe a situation.
Widely adopted current technologies are not
able to reproduce the audible characteristics
that ensure 'immersion' every time.

Localisation of Sounds
Lord Rayleigh's 'Duplex theory'
defined the localisation method
that the human auditory system
uses to identify sound locations.
These are Interaural Time
Differences (ITD) and Interaural
Level Differences (ILD). Minute
changes in time of arrival and
pressure allow for precise
localisation of sound between the
two ears. Placement of speakers
is related to these principles.

Ambisonic Sound Localisation

Based heavily upon Lord Rayleigh's Duplex
Theory and Blumlein Stereo - Ambisonic
creator Gerzon developed a Meta-Theory for
the basis of his isotropic format.
Utilising two methods of mathematical
representation, covered later, the spectrum of
audio can be localised with stereophonic
principles but at higher precision.

Stereophony
Current standards use two discrete
audio files with a numerically applied
position, implying stereo-field width - but
not featuring the essential delay time or
amplitude differences.
Extending beyond stereo to surround
formats such as Dolby 5.1 and THX This method of encoding audio does not
give true impressions of space or
contain information that can reproduce a
realistic environment that can fool the
listeners.

Multichannel Choices Today:

'Dot One' Discrete (includes 5.1, 7.1, 11.2,
22.2)
'With Height' systems (Dolby PLIIz, Dolby
Atmos)
Wave Field Synthesis (WFS+)
VBAP
Ambiophonics (Binaural on speakers)
Ambisonics
Auro 3D

Why Ambisonics?
Advantages:
Isotropic - Speakers are all treated 'equally'
Mono, Stereo, Quad, 5.1 etc mix compatible
Stable phantom images between each pair
of speakers
Improving resolution does not mean
increasing speaker count by x^2!
Recording is independent to reproduction
system

Ambisonic Birth
Development of the format began during the
1970s, led by mathematician M. Gerzon. The
creation of a omni-directional, isotropic
wavefront recording and reproduction format
was acknowledged by many to be ahead of its
time - until now, 40 years later.
With viable increase of technologies labelled
'3D' and 'immersive' - adoption of Ambisonics
can deliver an audio experience like no other.

That's no Moon

Soundfield Microphones
Reproduction and recording of three
dimensional soundfields is easy, provided you
have chosen the correct set of microphone
patterns.
Omni

F/B Fig 8

L/R Fig 8

CoreSound Microphones
Several companies have created a single-unit
microphone that captures the information
similar to the Omni + Fig8 + Fig8 + Fig8
configuration. One of these is CoreSound's
TetraMic.

Ambisonic Research In Practice

Previously - only simulations of speaker
configurations, hypothetical-microphone
patterns and synthetic soundfields were
available.
Through empirical and software research now
conducted at York, Derby, Huddersfield and
Queens University, Dublin have all taken a
different approaches to Ambisonics.

Excellent - How Do I Get It?

Google 'Ambisonics' and you'll find obscure
literature relating to mathematical functions
such as Bessel and Hankel, or build it yourself
software in an unfamiliar package.
Making music using Ambisonics isn't as difficult
as it first seems..
But first you need plug-ins..

Ambisonic Production Tools

Overview
Encoding (Panning)
Decoding (Playback/Monitoring)
Effects
2D (Horizontal) systems
3D (With height) systems

2D Definitions
Polar/Cartesian
co-ordinates
Radial distance (r)
Azimuth ()
Measured anti-clockwise
from due front

Unit circle (r = 1)

Encoding
Directional encoding of virtual sound sources
(Panning)
Mono source input -> Ambisonic sound field
Applies to multi-track mixing techniques, live
performance or sound design
Simulates microphone pick-up patterns

2D Systems - First Order

W signal is -3dB: W = 0.707()

X signal is cosine of source direction: X = cos()
Y signal is sine of source direction:
Y = sin()

2D Systems - Second Order

W
W

X
X

Y
Y

Higher order 2D components are simply multiples of

source angle i.e. U = cos(2), V = sin(2)

2D Systems - Third Order

X
X

W
W

Y
Y

And again , P = cos(3), Q = sin(3)

Sound Field Reconstruction (Decoding)

Required for playback of Ambisonic material
over loudspeakers
A linear combination of Ambisonic channels
Creates speaker feeds
Cons: Material cannot be correctly monitored
before decoding
Pros: Allows any Ambisonic encoded material
to be played back on various speaker arrays

First Order - Quad System

W

+
0.471

+
0.667

0.000
Basic Decode

Each channel is multiplied by a coefficient (ratio) and

summed to give the speaker feed
Changing the coefficients creates the other speaker
feeds

First Order - Quad System

W

+
0.586

+
0.586

=
0.000
Max-rE Decode

+
0.707

+
0.500

=
0.000

In-Phase Decode

Adjusting the ratio between channels allows different

polar patterns to be reproduced

Second Order - Hexagon System

W

+
0.283

0.400

+
0.000

0.400

0.000

Basic

Adding higher order components narrows the

reproduced polar pattern

Second Order - Hexagon System

Max-rE

In-Phase

Further adjustment of channel ratios

Third Order - Octagon System

Basic

Max-rE

In-Phase

Higher directional resolution is achieved with

extra loudspeakers and audio channels

Velocity and Energy Vectors

Analysis of localisation quality by measuring
the contributions from all loudspeakers
An approximation of how humans localise
sound sources
Velocity vector relevant for low frequencies
(<700Hz)
Energy vector relevant for mid/high
frequencies (>700Hz)

rV & rE First Order

Basic
|rV| = 1.000
|rE| = 0.667

Max-rE
|rV| = 0.707
|rE| = 0.707

In-Phase
|rV| = 0.500
|rE| = 0.667

rV & rE Second Order

Basic
|rV| = 1.000
|rE| = 0.800

Max-rE
|rV| = 0.866
|rE| = 0.866

In-Phase
|rV| = 0.667
|rE| = 0.800

rV & rE Third Order

Basic
|rV| = 1.000
|rE| = 0.857

Max-rE
|rV| = 0.924
|rE| = 0.924

In-Phase
|rV| = 0.750
|rE| = 0.857

Dual Band Decoding

Crossover filters are used to split the frequency
spectrum into two bands
Allows different decodes at high and low
frequencies
For psychoacoustic
optimisation
Max rV at Low Freqs.
Max rE at High Freqs.

Near Field Compensation

A physical effect created by close proximity to
loudspeakers (within a few meters)
In microphone recording similar effect called
precedence
Compensated with
high-pass filtering

3D Definitions
Spherical/Cartesian
co-ordinates
Radial distance (r)
Azimuth ()
Measured anti-clockwise
from due front

Elevation ()
Measured up or down
from horizontal

Unit sphere (r = 1)

Spherical Harmonics
m = degree/mode , n = order

[note: sometimes reversed]

Higher Order Systems

Channel count Vs. Ambisonic order

Ambisonic Productions and Standardisation

Proposed Array Standards

Adoption and implementation of regular arrays
is key to attracting large companies and
markets.
Calibration of the array is crucial - however, the
decoding stage has yet to be agreed upon.
Standardising the environment (placement &
number of speakers), loudness and production
tool kits are possible.

An Array Standard
Now we have plug-ins that work with easily
accessible software.
What now?
Create an array, calibrate the array and then
produce in Ambisonics!

How many speakers?

The most elemental array for Ambisonics is a
First Order Horizontal one, using 4 speakers.

First Order Layouts

How many speakers?

The most elemental array for Ambisonics is a
First Order Horizontal one, using 4 speakers.
Moving up to second order harmonics we need
to use 6 speakers.

Second Order

How many speakers?

The most elemental array for Ambisonics is a
First Order Horizontal one, using 4 speakers.
Moving up to second order harmonics we need
to use 6 speakers.
Going to third order horizontal resolution we
need to 8 speakers.

Third Order Layout

A large array, featuring 25th Order regular horizontal array.

Loudness
The Loudness war needs
no introduction.
Hyper-compression is a
problem that has resulted in
several industry wide
recommendations from
professional bodies.

European Broadcast

Union R-128
ITU-R BS 2054.2

LUFS!
R-128 specifies the use of Loudness Unit Full
Scale in broadcasting.
Material is normalised to -23dBFS +/- 1dB,
conforming with calibrated metering of ITU BS
1770.
Not only is the recommendation in the box, but
calibrated at the speakers.

Desired Listening figures

Taking into consideration most of the
recommendations from the ITU, EBU and KScale - an SPL between 83dB and 85dB SPL
at listening position.
This is an equivalent target SPL of 83dB SPL
@ 1 meter for each speaker in the array
irrespective of number.

Metering and Placement

In adhering to R-128 compatibility with the
Fletcher-Munson curves is preserved, and
acoustical integrity of material is kept.
Placement of the speakers in regular form
ensures stereophonic phantom images
between speakers. Advantages of Ambisonics
allows for higher tolerance in placement.

Research Project
A main research project is under way to
compare the qualitative aspect of Ambisonics
against other 'surround' formats.
Technical accuracy has been shown a benefit
of Ambisonics but data relating to listening tests
are small and controlled.

Production Tools
Using the DAW 'Reaper', guides are available
using existing plug-in suites, one of the more
popular is Dr Wiggins's 'WigWare'.
PC exclusive suites are available (Dave
Malhams B-Dec), with Linux exclusive
AmbDec.

Delay Plug-In
Allows delayed
sounds to be
scattered
throughout the
sound field
To create abstract
spatial effects
Or studio delay

Delay Plug-In System Overview

The processing system

Delay Plug-In Features

Offset control centres
source direction
Range specifies
amount the source
will deviate
(modulate) from
centre point

Delay Plug-In Output

Randomisation setting
Sample and hold is used
to hold position of signal
for duration of playback

Delay Plug-In Output

Oscillation setting
Multiple delays allows for
time overlap of signals

Audio Demo
In the demo today we are using a custom Third
Order Ambisonic Decoder attached to 8
speakers.
Using Reaper to host the plug-ins, there is a
mixture of up-mixed monophonic to Ambisonic
material and First Order CoreSound recordings.

Conclusions
In this talk we have covered;
Elementary description of auditory perception
Ambisonic functions (FOA, HOA)
Encoding and Decoding Process
Issues associated with Ambisonics
Production Standard Guidelines

Thank you for listening, any questions?