An integrated system providing dynamic control of sound source azimuth, distance and proximity to a room boundary within a simulated acoustic space is proposed for use in multichannel music and film sound production. The system has been investigated, implemented, and psychoacoustically tested within the ITU-R BS.775 recommended five-channel (3/2) loudspeaker layout. The work brings together physical and perceptual models of room simulation to allow dynamic placement of virtual sound sources at any location of a simulated space within the horizontal plane. / The control system incorporates a number of modules including simulated room modes, "fuzzy" sources, and tracking early reflections, whose parameters are dynamically changed according to sound source location within the simulated space. The control functions of the basic elements, derived from theories of perception of a source in a real room, have been carefully tuned to provide efficient, effective, and intuitive control of a sound source's perceived location. / Seven formal listening tests were conducted to evaluate the effectiveness of the algorithm design choices. The tests evaluated: (1) loudness calibration of multichannel sound images; (2) the effectiveness of distance control; (3) the resolution of distance control provided by the system; (4) the effectiveness of the proposed system when compared to a commercially available multichannel room simulation system in terms of control of source distance and proximity to a room boundary; (5) the role of tracking early reflection patterns on the perception of sound source distance; (6) the role of tracking early reflection patterns on the perception of lateral phantom images. / The listening tests confirm the effectiveness of the system for control of perceived sound source distance, proximity to room boundaries, and azimuth, through fine, dynamic adjustment of parameters according to source location. All of the parameters are grouped and controlled together to create a perceptually strong impression of source location and movement within a simulated space.

With the recent emergence of new release formats capable of delivering discrete multichannel surround-sound, there is a need to research unique recording methods to take advantage of the enhanced spatiality compared to conventional 2-channel stereophonic systems. This dissertation proposes a new microphone technique that incorporates head-related spatial cues through use of binaural artificial-head microphone signals sent to the surround channels. Combining this with 3 spaced directional microphones for the front channels shows promising results towards reproducing a 3-dimensional sound field. This dissertation describes a complete investigation of the proposed recording technique including an analysis of the basic concept, performance and suggested applications.

Thesis (MS)--Montana State University--Bozeman, 2009. / Typescript. Chairperson, Graduate Committee: Robert C. Maher. Appears on title page as Darrin Kiysohi Reed (sic). Includes bibliographical references (leaves 60-71).

Thesis (M.S. )--Kutztown University of Pennsylvania, 2006. / Source: Masters Abstracts International, Volume: 45-06, page: 2723. Typescript. Abstract precedes thesis as 1 leaf (iii). Includes bibliographical references (leaf 23).

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Thesis (M.S. in Modeling, Virtual Environments, and Simulation)--Naval Postgraduate School, September 2003. / Thesis advisor(s): Russell D. Shilling, Rudolph P. Darken. Includes bibliographical references (p. 169-172). Also available online.

Thesis (Ph.D)--Psychology, Georgia Institute of Technology, 2010. / Committee Chair: Walker, Bruce N.; Committee Member: Corballis, Paul M.; Committee Member: Corso, Gregory M.; Committee Member: Folds, Dennis J.; Committee Member: Houtsma, Adrianus J. M. Part of the SMARTech Electronic Thesis and Dissertation Collection.

The requirement for multi-channel surround sound in audio production applications is growing rapidly. Audio processing in these applications can be costly, particularly in multi-channel systems. A distributed approach is proposed for the development of a realtime spatialization system for surround sound music production, using Ambisonic surround sound methods. The latency in the system is analyzed, with a focus on the audio processing and network delays, in order to ascertain the feasibility of an enhanced, distributed real-time spatialization system.

Audio signal processing systems for converting two-channel (stereo) recordings to four or five channels are increasingly relevant. These audio upmixers can be used with conventional stereo sound recordings and reproduced with multichannel home theatre or automotive loudspeaker audio systems to create a more engaging and natural-sounding listening experience. This dissertation discusses existing approaches to audio upmixing for recordings of musical performances and presents specific design criteria for a system to enhance spatial sound quality. A new upmixing system is proposed and evaluated according to these criteria and a theoretical model for its behavior is validated using empirical measurements. / The new system removes short-term correlated components from two electronic audio signals using a pair of adaptive filters, updated according to a frequency domain implementation of the normalized-least-means-square algorithm. The major difference of the new system with all extant audio upmixers is that unsupervised time-alignment of the input signals (typically, by up to +/-10 ms) as a function of frequency (typically, using a 1024-band equalizer) is accomplished due to the non-minimum phase adaptive filter. Two new signals are created from the weighted difference of the inputs, and are then radiated with two loudspeakers behind the listener. According to the consensus in the literature on the effect of interaural correlation on auditory image formation, the self-orthogonalizing properties of the algorithm ensure minimal distortion of the frontal source imagery and natural-sounding, enveloping reverberance (ambiance) imagery. / Performance evaluation of the new upmix system was accomplished in two ways: Firstly, using empirical electroacoustic measurements which validate a theoretical model of the system; and secondly, with formal listening tests which investigated auditory spatial imagery with a graphical mapping tool and a preference experiment. Both electroacoustic and subjective methods investigated system performance with a variety of test stimuli for solo musical performances reproduced using a loudspeaker in an orchestral concert-hall and recorded using different microphone techniques. / The objective and subjective evaluations combined with a comparative study with two commercial systems demonstrate that the proposed system provides a new, computationally practical, high sound quality solution to upmixing.