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|a Pfanzagl-Cardone, Edwin
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|a The art and science of surround and stereo recording :
|b including 3D audio techniques /
|c Edwin Pfanzagl-Cardone
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|a Vienna :
|b Springer,
|c 2021
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| 300 |
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|a 1 online resource (429 p.)
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|a 1 online resource (429 pages)
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|a text
|b txt
|2 rdacontent
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|a computer
|b c
|2 rdamedia
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|a online resource
|b cr
|2 rdacarrier
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| 500 |
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|a 4.2.3 ABC 5 (Omni Array, Decca-Triangle)
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|a Description based upon print version of record
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| 504 |
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|a Includes bibliographical references and index
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|a Intro -- Preface -- Contents -- About the Author -- Abbreviations -- 1 Spatial Hearing -- 1.1 Mechanisms of Localization -- 1.1.1 HRTF Phase-Characteristics -- 1.1.2 Localization and HRTFs -- 1.2 Mechanisms of Distance Perception -- 1.2.1 Sound Intensity -- 1.2.2 Diffuse Sound -- 1.2.3 Frequency Response -- 1.2.4 Binaural Differences -- 1.3 Spatial Impression -- 1.4 Physical Measures in Relation to Spatial Impression -- 1.5 The Influence of Loudspeaker Quality and Listening Room Acoustics on Listener Preference
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|a 1.6 Psychoacoustic Effects Concerning Localization and Spatial Impression with Loudspeaker Reproduction -- 1.6.1 Frequency-Dependent Localization Distortion in the Horizontal Plane -- 1.6.2 Frequency-Dependent Localization in the Vertical Plane -- 1.6.3 Effects Concerning the Reproduction of Spaciousness -- References -- 2 Correlation and Coherence -- 2.1 Signal Correlation in Stereo Microphone Systems -- 2.2 Optimized Signal Coherence in Surround Microphone Systems -- 2.3 Optimized Interaural Correlation Coefficient
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|a 2.4 Evaluations Concerning the Interaction Between Loudspeaker Directivity and Listener Envelopment -- 2.5 Summary and Conclusion -- 2.6 Further Notice -- References -- 3 Stereo Microphone Techniques -- 3.1 Coincident Techniques -- 3.1.1 XY with Cardioids and Hyper-cardioids -- 3.1.2 XY with Figure-of-Eights (Blumlein-Pair) -- 3.1.3 MS Stereo -- 3.1.4 Coincident Omni-directional Microphones-- 3.1.5 BPT Microphone ('Blumlein-Pfanzagl-Triple, ' BPT-3.0) -- 3.2 AB Pair Systems ([delta]t-Stereophony) -- 3.2.1 Small AB-Only a 'Psychoacoustic Trick'-- 3.2.2 Faulkner 'Phased Array'
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|a 2.4 Evaluations Concerning the Interaction Between Loudspeaker Directivity and Listener Envelopment -- 2.5 Summary and Conclusion -- 2.6 Further Notice -- References -- 3 Stereo Microphone Techniques -- 3.1 Coincident Techniques -- 3.1.1 XY with Cardioids and Hyper-cardioids -- 3.1.2 XY with Figure-of-Eights (Blumlein-Pair) -- 3.1.3 MS Stereo -- 3.1.4 Coincident Omni-directional Microphones-- 3.1.5 BPT Microphone ('Blumlein-Pfanzagl-Triple,' BPT-3.0) -- 3.2 AB Pair Systems ([delta]t-Stereophony) -- 3.2.1 Small AB-Only a 'Psychoacoustic Trick'-- 3.2.2 Faulkner 'Phased Array'
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|a 3.2.3 Faulkner '4-Way Phased Array' -- 3.2.4 Jecklin Disk-or Blumlein Disk? (... and Schneider Disk) -- 3.3 Equivalence Stereophony -- 3.3.1 ORTF -- 3.3.2 NOS -- 3.3.3 Large AB -- 3.3.4 Large AB-and the 'Hole-in-the-Middle' Effect -- 3.3.5 Small AB Versus Large AB: Introducing 'medium AB' and the 'AB-Centerfill' Technique -- 3.3.6 OCT-Optimal Cardioid Triangle -- 3.3.7 DHAB-Delayed Hemicardioid AB -- 3.3.8 SHAB-Side Hemicardioid AB -- 3.3.9 CHAB-Center Hemicardioid AB -- 3.4 Combined Stereo Microphone Techniques -- 3.4.1 The 'AB-Polycardioid Centerfill' (AB-PC)
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|a 3.4.2 'AB-Blumlein Centerfill' and Other Techniques -- References -- 4 Surround Microphone Techniques -- 4.1 Coincident and 'Quasi-coincident' Microphone Arrays -- 4.1.1 'Soundfield-' or 'Soundpoint-' Microphone? -- 4.1.2 DMS (Double-MS Technique) -- 4.1.3 Double-MS + Artificial Head -- 4.1.4 BPT (Blumlein-Pfanzagl-Triple) -- 4.1.5 Martin Triple -- 4.1.6 XY Cardioid Arrangement (Back-to-Back) -- 4.1.7 MILAB 360 (360° Surround Microphone) -- 4.1.8 Phasor Arrays and the 'Ghent' Microphone -- 4.2 Spaced Arrays (Two-Dimensional Arrays) -- 4.2.1 Circular Microphone Array -- 4.2.2 Trinnov-Array
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| 520 |
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|a This book presents an extensive and timely survey of more than 30 surround and 20 stereo-microphone techniques. Further, it offers, for the first time, an explanation of why the RCA "Living Stereo" series of legacy recordings from the 1950s and 60s is still appreciated by music lovers worldwide, despite their use of an apparently incorrect recording technique from the perspective of psychoacoustics. Discussing this aspect in detail, the book draws on the author's study of concert hall acoustics and psychoacoustics. The book also analyzes the "fingerprint" features of a selected number of surround and - more importantly - stereo microphone techniques in depth by measuring their signal cross-correlation over frequency and also using an artificial human head. In addition, the book presents a rating of microphone techniques based on the assessment of various acoustic attributes, and merges the results of several subjective listening tests, including those conducted by other researchers. Building on this knowledge, it provides fresh insights into important microphone system features, from stereo to 3D audio. Moreover, it describes new microphone techniques, such as AB-PC, ORTF-T and BPT, and the recently defined BQIrep (Binaural Quality Index of reproduced music). Lastly, the book concludes with a short history of microphone techniques and case studies of live and studio recordings
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| 588 |
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|a Online resource; title from PDF title page (SpringerLink, viewed February 26, 2021)
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| 588 |
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|a Print version record
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| 650 |
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|a Sound
|x Recording and reproducing
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| 650 |
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|a Stereophonic sound systems
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| 650 |
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7 |
|a Sound
|x Recording and reproducing
|2 fast
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| 650 |
|
7 |
|a Stereophonic sound systems
|2 fast
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| 655 |
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4 |
|a Electronic books
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| 776 |
0 |
8 |
|i Print version:
|a Pfanzagl-Cardone, Edwin
|t Art and Science of Surround and Stereo Recording.
|d Vienna : Springer Wien, ©2021
|z 9783709148891
|
| 776 |
0 |
8 |
|i Print version:
|a Pfanzagl-Cardone, Edwin
|t The Art and Science of Surround and Stereo Recording
|d Vienna : Springer Wien,c2021
|z 9783709148891
|
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