Journal of The Audio Engineering Society 

About: Journal of The Audio Engineering Society is an academic journal published by Audio Engineering Society. The journal publishes majorly in the area(s): Loudspeaker & Digital audio. It has an ISSN identifier of 1549-4950. Over the lifetime, 8479 publications have been published receiving 92937 citations. The journal is also known as: AES.

Virtual Sound Source Positioning Using Vector Base Amplitude Panning

Abstract: A vector-based reformulation of amplitude panning is derived, which leads to simple and computationally efficient equations for virtual sound source positioning. Using the method, vector base amplitude panning (VBAP), it is possible to create two- or three-dimensional sound fields where any number of loudspeakers can be placed arbitrarily. The method produces virtual sound sources that are as sharp as is possible with current loudspeaker configuration and amplitude panning methods. A digital tool that implements two- and three-dimensional VBAP with eight inputs and outputs has been realized.

Simultaneous Measurement of Impulse Response and Distortion with a Swept-Sine Technique

Abstract: A novel measurement technique of the transfer function of weakly not-linear, approximately time-invariant systems is presented. The method is implemented with low-cost instrumentation; it is based on an exponentially-swept sine signal. It is applicable to loudspeakers and other audio components, but also to room acoustics measurements. The paper presents theoretical description of the method and experimental verification in comparison with MLS.

A model for the prediction of thresholds, loudness, and partial loudness

Abstract: A loudness model for steady sounds is described having the following stages: 1) a fixed filter representing transfer through the outer ear; 2) a fixed filter representing transfer through the middle ear; 3) calculation of an excitation pattern from the physical spectrum; 4) transformation of the excitation pattern to a specific loudness pattern; 5) determination of the area under the specific loudness pattern, which gives overall loudness for a given ear; and 6) summation of loudness across ears. The model differs from earlier models in the following areas: 1) the assumed transfer function for the outer and middle ear; 2) the way that excitation patterns are calculated; 3) the way that specific loudness is related to excitation for sounds in quiet and in noise; and (4) the way that binaural loudness is calculated from monaural loudness. The model is based on the assumption that sounds at absolute threshold have a small but finite loudness. This loudness is constant regardless of frequency and spectral content. It is also assumed that a sound at masked threshold has the same loudness as a sound at absolute threshold. The model accounts well for recent measures of equal-loudness contours, which differ from earlier measures because of improved control over bias effects. The model correctly predicts the relation between monaural and binaural threshold and loudness. It also correctly accounts for the threshold and loudness of complex sounds as a function of bandwidth.

ISO/IEC MPEG-2 Advanced Audio Coding

Abstract: The ISO/IEC MPEG-2 advanced audio coding (AAC) system was designed to provide MPEG-2 with the best audio quality without any restrictions due to compatibility requirements. The main features of the AAC system (ISO/IEC 13818-7) are described. MPEG-2 AAC combines the coding efficiency of a high-resolution filter bank, prediction techniques, and Huffman coding with additional functionalities aimed to deliver very high audio quality at a variety of data rates.

The Synthesis of Complex Audio Spectra by Means of Frequency Modulation

Abstract: A new application of the well-known process of frequency modulation is shown to result in a surprising control of audio spectra. The technique provides a means of great simplicity to control the spectral components and their evolution in time. Such dynamic spectra are diverse in their subjective impressions and include sounds both known and unknown. In natural sounds the amplitudes of the frequency components of the spectrum are time-variant, or dynamic. The energy of the components often evolves in complicated ways, in particular, during the attack and decay portions of the sound. The temporal evolution of the spectrum is in some cases easily followed as with bells, whereas in other cases not, because the evolution occurs in a very short time period, but it is nevertheless perceived and is an important cue in the recognition of timbre. Many natural sounds seem to have characteristic spectral evolutions that, in addition to providing their "signature," are largely responsible for what we judge to be their lively quality. In contrast, it is largely the fixed proportion spectrum of most synthesized sounds that so readily imparts to the listener the electronic cue and lifeless quality. The special application of the equation for frequency modulation, described below, allows the production of complex spectra with very great simplicity. The fact that the temporal evolution of the frequency components of the spectrum can be easily controlled is perhaps the most striking attribute of the technique, for dynamic spectra are achieved only with considerable difficulty using current techniques of synthesis. At the end of this paper some simulations of brass, woodwind, and percussive sounds are given. The importance of these simulations is as much in their elegance and simplicity as it is in their accuracy. This frequency modulation technique, although not a physical model for natural sound, is shown to be a very powerful perceptual model for at least some.