Conventional Stereophonic Sound

Ziemer, Tim

doi:10.1007/978-3-030-23033-3_7

Tim Ziemer⁵

Part of the book series: Current Research in Systematic Musicology ((CRSM,volume 7))

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Abstract

Conventional spatial audio systems allow audio engineers and music producers to control the signal of single loudspeakers. Many stereo recording and mixing techniques established. These create loudspeaker signals that evoke a desired spatial impression for the listener to some degree. Impressions may include the perceived location and spatial extent of a sound source, or the perceived reverberance and envelopment of the room. This chapter describes the principles of established stereophonic audio systems and evaluates to what extent they fulfill the requirements for a natural, spatial music listening experience. It can be seen that technological advances in audio systems are especially spatial ones. From mono over stereo, quadraphonic sound and Dolby surround, 5.1 surround to immersive audio and binaural systems the control over source locations and the degree of apparent source width and listener envelopment increase. As a logical consequence, new spatial audio systems should keep improving aspects of perceived spaciousness.

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Notes

1.
See Schubert (2002), p. 15.
2.
Suggested as a standard by the NWDR in the 1950s, see Hiebler (1999), pp. 728f. Even today this is a prerequisite for use in many broadcasting companies, cinemas and recording studios (Goertz 2018, p. 072)—but dependent on the application area other radiation characteristics may be preferred, see e.g. Goertz (2008), p. 483.
3.
Cf. Mäkivirta (2008), p. 649.
4.
After Verheijen (1997), p. 9, Pulkki (2008), p. 747, Schanz (1966), pp. 8–18, Berkhout et al. (1993), p. 2764, Faller (2009), p. 641 and Spors et al. (2013).
5.
1. See Berkhout et al. (1992), p. 2, Baalman (2008), p. 17 and Faller (2009), pp. 638–641, 2. See Rossing (1990), p. 503, Berkhout et al. (1992), p. 2, Blauert (1997), p. 353, Schanz (1966), pp. 13f, Verheijen (1997), p. 8, Gade (2007), p. 309, 3. See Schanz (1966), pp. 8 ff, Gade (2007), pp. 307 and 333f, Rossing (1990), p. 503, Blauert (1997), p. 351 and Favrot and Buchholz (2010).
6.
Cf. Toole (2008), p. 14.
7.
Mainly after Schubert (2002), Schanz (1966), Hiebler (1999), Owsinski (2014) and Slavik and Weinzierl (2008).
8.
After Davis (2007), Damaske (2008), Webers (2003), Henle (2001), Huber (2002), Verheijen (1997), Pulkki (2008), Faller (2009), Schanz (1966), Slavik and Weinzierl (2008), Dickreiter (1987), and Mores (2018).
9.
See Schanz (1966), p. 2 and p. 19.
10.
Cf. Henle (2001), p. 111.
11.
See Schanz (1966), p. 2 and p. 19.
12.
See footnote 10.
13.
See Deutsches Institut für Normung (1996).
14.
See Damaske (2008), pp. 8 f.
15.
Derived in Bauer (1961).
16.
Introduced in Bernfeld (1973), revisited e.g. in Pulkki (1997), p. 457 and Pulkki (2001).
17.
See, e.g., Pulkki (2001), pp. 12f.
18.
See Chowning (1971).
19.
See Verheijen (1997), p. 12 and Fig. 7.4.
20.
16 dB according to Webers (2003), p. 184, “12–15 dB” according to Damaske (2008), p. 6, only 10 dB according to David jr. (1988), p. 159.
21.
See Dickreiter (1987), p. 127.
22.
Davis (2007), p. 776.
23.
See e.g. Theile (1980), pp. 10ff.
24.
Discussed in detail in Chap. 6, especially Sect. 6.2.
25.
Reported, e.g., in Schanz (1966) for jazz recordings.
26.
See Dickreiter (1978), p. 82 and Friesecke (2007) pp. 138–146.
27.
See Verheijen (1997), p. 16.
28.
See Dickreiter (1987), p. 129 and David jr. (1988), p. 159.
29.
Details, see Blauert and Braasch (2008), pp. 110ff.
30.
See Blauert (2008), p. 25.
31.
See Friesecke (2007), p. 137.
32.
See Dickreiter (1987), p. 135.
33.
Cf. Scheminzky (1943), p. 38.
34.
See Strube (1985), p. 69 and Schanz (1966), p. 54.
35.
Verheijen (1997), pp. 23f/Dolby Laboratories Inc. (1998), p. 8-1 and Henle (2001), p. 115/Webers (2003), p. 220.
36.
Cf. e.g. Toole (2008), p. 278.
37.
The listening test can be found in Theile and Plenge (1976).
38.
See Webers (2003), p. 219.
39.
Dolby Laboratories Inc. (1998), p. 2–8.
40.
From Schneider Rundfunkwerke-AG (1995), p. 29.
41.
See e.g. Dolby Laboratories Inc. (1998), p. 3–14, Schneider Rundfunkwerke-AG (1995), pp. 28–29.
42.
For details see e.g. Dolby Laboratories Inc. (2000), p. 5.
43.
See Dolby Laboratories Inc. (1998), pp. 5-2 to 5-3 and Slavik and Weinzierl (2008), p. 624.
44.
See Henle (2001), p. 115.
45.
Henle (2001), p. 117.
46.
See Dolby Laboratories Inc. (2010), Games->Dolby Pro Logic II and Nintendo Co. (2013).
47.
Faller (2009), p. 635.
48.
Slavik and Weinzierl (2008), p. 627.
49.
Masking is treated extensively in Sect. 4.3.
50.
See Goertz (2008), p. 423.
51.
Slavik and Weinzierl (2008), p. 629.
52.
See Dolby Laboratories Inc. (2010) ->GAMES and -> MOBILE.
53.
See Davis (2003), p. 565.
54.
For more information on DTS, refer to Davis (2003) and DTS, Inc. (2016), with articles like DTS, Inc. (2015a).
55.
See Owsinski (2014), p. 55.
56.
Details on 7.1 can be found e.g. in Apple (2009), pp. 1161f.
57.
See Henle (2001), p. 116.
58.
See Reisinger (2002), p. 49.
59.
See e.g. International Telecommunication Union (2016), pp. 5, 12 and 38 or Dolby Laboratories Inc. (2015), p. 3.
60.
See Dolby Laboratories Inc. (2015), pp. 16f.
61.
See Dolby Laboratories Inc. (2015), pp. 3f and 28.
62.
See Owsinski (2014), p. 53.
63.
See Auro Technologies (2015) for details and much more information on Auro-3D.
64.
See e.g. DTS, Inc. (2015a, b, 2016) for details.
65.
For further information, see e.g. Herre et al. (2014, 2015) and ISO/IEC JTC 1/SC 29: Coding of audio, picture, multimedia and hypermedia information (2016).
66.
For details, see Pulkki (2001).
67.
Webers (2003), pp. 224f.
68.
Vorländer (2008), p. 293.
69.
As proposed, e.g. in Sodnik et al. (2006) and Busson et al. (2004).
70.
Individualization is proposed, e.g. by Seeber and Fastl (2003). Kan et al. (2009) propose a method to create near field HRTF from far field HRTF measurements. Several HRTF databases exist, like “AUDIS” and “CIPIC”, see Blauert et al. (1998) and Algazi et al. (2001).
71.
Vorländer (2008), p. 295.
72.
See Blauert (1997), p. 360.
73.
Vorländer (2008), p. 297.
74.
See Warusfel and Misdariis (2004), p. 4.
75.
Daniel et al. (2003), p. 1.
76.
See Ahrens et al. (2008), p. 3.

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Institute of Systematic Musicology, University of Hamburg, Hamburg, Germany
Tim Ziemer

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Ziemer, T. (2020). Conventional Stereophonic Sound. In: Psychoacoustic Music Sound Field Synthesis. Current Research in Systematic Musicology, vol 7. Springer, Cham. https://doi.org/10.1007/978-3-030-23033-3_7

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DOI: https://doi.org/10.1007/978-3-030-23033-3_7
Published: 07 August 2019
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