EP1017249B1 - Method and device for sound recording and reproduction with natural feeling of sound space - Google Patents

Method and device for sound recording and reproduction with natural feeling of sound space Download PDF

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Publication number
EP1017249B1
EP1017249B1 EP99402996A EP99402996A EP1017249B1 EP 1017249 B1 EP1017249 B1 EP 1017249B1 EP 99402996 A EP99402996 A EP 99402996A EP 99402996 A EP99402996 A EP 99402996A EP 1017249 B1 EP1017249 B1 EP 1017249B1
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EP
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Prior art keywords
sound
recording
fact
microphones
diffusion
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EP99402996A
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German (de)
French (fr)
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EP1017249A1 (en
Inventor
Georges Claude Vieilledent
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Arkamys SA
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Arkamys SA
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    • H—ELECTRICITY
    • H04—ELECTRIC COMMUNICATION TECHNIQUE
    • H04R—LOUDSPEAKERS, MICROPHONES, GRAMOPHONE PICK-UPS OR LIKE ACOUSTIC ELECTROMECHANICAL TRANSDUCERS; DEAF-AID SETS; PUBLIC ADDRESS SYSTEMS
    • H04R1/00—Details of transducers, loudspeakers or microphones
    • H04R1/20—Arrangements for obtaining desired frequency or directional characteristics
    • H04R1/32—Arrangements for obtaining desired frequency or directional characteristics for obtaining desired directional characteristic only
    • H04R1/40—Arrangements for obtaining desired frequency or directional characteristics for obtaining desired directional characteristic only by combining a number of identical transducers
    • H04R1/406—Arrangements for obtaining desired frequency or directional characteristics for obtaining desired directional characteristic only by combining a number of identical transducers microphones
    • H—ELECTRICITY
    • H04—ELECTRIC COMMUNICATION TECHNIQUE
    • H04R—LOUDSPEAKERS, MICROPHONES, GRAMOPHONE PICK-UPS OR LIKE ACOUSTIC ELECTROMECHANICAL TRANSDUCERS; DEAF-AID SETS; PUBLIC ADDRESS SYSTEMS
    • H04R5/00—Stereophonic arrangements
    • H04R5/027—Spatial or constructional arrangements of microphones, e.g. in dummy heads

Definitions

  • Sound recording is done by at least two microphones fixed in one position and one specific orientation and considered as "strategic" in relation to the source of his.
  • the sounds coming from one of these two microphones, or from a set of microphones, are recorded on a track while sounds from the second microphone, or the second set of microphones, are recorded on another track, separate from the first.
  • the recorded sounds are played back through at least two loudspeakers (or speakers) suitably placed and oriented.
  • the binarity of any stereophonic system comes from the transposition to the sounds of the stereoscopy, first in date, itself based on the binocular vision of Man.
  • stereophony contains its own limits by the simple fact that it reduces the number of sound sources to two offered to listen to the listener, themselves subject to the track limit without any possibility of a third dimension.
  • the present invention relates to a process different from those known, based on the diffusion of very realistic sounds, that is to say close to reality, which supposes in particularly a strong "relief” and the presence of ambient sounds, corresponding to conditions of reality.
  • the invention thus makes it possible to reconstruct, when listening, a space three-dimensional sound, including vertical levels and front and rear spaces compared to the listener.
  • the subject of the invention is a method for processing sounds according to claim 1.
  • the invention also relates to a device comprising a set of taking sounds and a broadcast system according to claim 6.
  • Stereophony can only concern a plurality of sound sources or a distribution significant spatial.
  • the recording of a symphonic orchestra on two tracks and the playback of the recordings of the two tracks by two speakers or two headphones would not really be of interest in itself if this stereophony did not constitute a powerful stimulus from the human brain that artificially reconstructs for the listener, by unconscious analogy of memorized memories, the atmosphere of a concert hall in which he attributes a depth and a width. Otherwise, the auditor would be content to hear the violins on the left and the double basses on the right, the other instruments distributing partially left and right, without any relief.
  • This defect is inherent in stereophony and is particularly felt when the broadcasting takes place in a performance hall, in particular a cinema, when has speakers not only at the front, screen side, but also at the back of the room.
  • the aim is to best give a feeling of sound space to the spectators by distributing the sounds so that the sound perception of a movement suggested in the image is as realistic as possible.
  • the fixity of the microphones, the fixity of the sound sources and the fixity of the speakers acoustic have the effect of freezing all the sounds in an illusory volume because no difference in sound is perceived in relation to the pitch.
  • the finished film includes a "picture tape” filmed live and a "soundtrack” formed by the superimposition of the original sounds including mediocrity, or even the absence, is compensated by the re recording in the studio.
  • the invention proposes a new recording method which makes it possible to really create not a simple finished volume but a three-dimensional sound space immediately perceptible by a listener, transversely (from - ⁇ on the left to + ⁇ on the right via the immediate proximity), vertically (from bottom to top and vice versa ), longitudinally (from - ⁇ behind the listener to + ⁇ in front of the listener via immediate proximity).
  • the invention makes it possible to make particularly lively recordings in providing listening conditions extremely close to what they should have been on site during check-in.
  • the sound recording device is specific and the process is completely different from current processes since we can even show that it is contrary to all known recommendations.
  • the recorded sounds are reproduced using headphones or speakers depending on listening conditions: in private, in public, from a disc, from a tape sound of a film, etc.
  • a device in its simplest form. It includes an autonomous set of sound recording 10 formed of two microphones 11 and 12 rigidly joined by a rod 13 whose length is close to the straight line distance between the two ears of a common human being and who carries a plane longitudinal screen 14 having the best soundproofing qualities possible to best individualize the two microphones 11 and 12.
  • the set 10 is integral with an operating handle 15 because it has no fixing member or immobilization.
  • An electric cable 16 containing specific conductors for each of the two microphones 11 and 12 brings together the assembly 10 and a recording device 20 of any known type capable of differentiating the signals from microphones 11 and 12.
  • we have schematized an assembly allowing the use of a cassette 21 symbolizing everything recording medium.
  • the cassette 21 is then used as usual by reading in a recording device.
  • sound reproduction 30 to which a headset 40 fitted with two headphones 41 and 42 is connected by a cable of any known type 43 containing conductors specific to each of the headphones 41 and 42.
  • the set 1 is manipulated by a user from the position shown in the upper right of figure 1.
  • the user can rotate, more or less quickly, the assembly 10 roughly along the axis of the handle 15, from the orientation drawn in solid line in the dashed orientation, as evoked by the double arrow F1.
  • the microphone 11 is closer to the source A than the microphone 12 in an orientation and further away in the reverse orientation.
  • the microphone 11 will remain the farthest two microphones compared to source A but the sound collected by microphone 12 will go first by increasing and then decreasing.
  • the set 10 will be at the source A source, that is to say when the flat screen 14 almost completely hides the microphone 11, the sound reaching the microphone 12 will be clearly predominant and a small residual part of the sound original will be picked up by the microphone 11.
  • FIG. 2 the possible movement of the assembly 10 has been shown above the source A, from a position of proximity at the bottom left to a position distant at the top right of this figure without change of orientation, which corresponds to a constant relative position of the two microphones 11 and 12 relative to the source A, unlike the example in Figure 1.
  • each microphone corresponds to one of the earphones 41 and 42.
  • the microphone 11 considered to be the right microphone corresponds to earphone 41
  • microphone 12 considered to be left corresponds to earpiece 42.
  • FIG. 3 shows a more elaborate embodiment of the device which, here, comprises in addition to the plane longitudinal screen 14, a plane transverse screen 17 which extends from one microphone to another, to determine a sonic space in front of the microphones 11 and 12 and a sonic space behind said microphones 11 and 12 because these, comforted by the longitudinal screen 14 differentiate only the right and left lateral spaces.
  • This device provided with the same handle 15 as that of FIGS. 1 and 2, can be manipulated as already mentioned but, here, the movements of the assembly 10 make it possible to clearly differentiate the pre-eminence of the front sounds compared to the rear sounds and vice versa .
  • the invention makes it possible to produce the longitudinal and transverse screens respectively in merging them into a sphere made of phonically insulating material because the laterality is marked by the insulating mass of the sphere considered transversely and the front-back differentiation comes from the insulating mass of the sphere considered longitudinally.
  • This spherical assembly 50 must be devoid of any fixing member, unlike known devices, and the mobility to which it must be subjected, requires the user to have a means of identification front - rear and / or right - left.
  • the assembly 50 Since, in addition, the assembly 50 must have an operating handle 15, it is advantageous to concretize the front - rear marking (from which it automatically results the correct positioning right - left of microphones 11 and 12) by giving the handle 15 an asymmetrical profile constituting a polarizer avoiding a reverse orientation of the one you want.
  • the handle 15 is provided with a sheath 18 which is smooth at the back and serrated at the front.
  • the microphone 12 is closest to the source A and therefore receives a flux maximum sonic, while the microphone 11 is exactly opposite source A and does not receives only residual sounds, notably due to echoes.
  • microphones 11 and 12 are equidistant from source A and receive the same flux.
  • the microphone 11 is closest to the source A and therefore receives a flux maximum sonic, while microphone 12 is exactly opposite source A and does not receives only residual sounds, notably due to echoes. This orientation is therefore exactly symmetrical to that of figure 4.
  • Figures 7 to 9 are similar to Figures 4 to 6, but the assembly 10, if it rotates well always in the direction of the arrows F3, has a starting position in which the microphone closest to source A is microphone 11.
  • the arrows symbolize the sounds according to the direction that the listener perceives but it is obviously impossible, on the plan of a sheet of paper, to represent the three dimensions of space.
  • the listener hears sounds distributed from right to left, according to a panoramic front view, corresponding to the symmetrical orientation of the microphones 11 and 12 of FIG. 5, the virtual transverse plane of the assembly 10 having its front face arranged towards source A.
  • the listener perceives sounds moving from left to right, substantially at constant pitch and whose feeling of proximity remains unchanged.
  • Figure 16 there is shown an example of sound recording by means of a set 50, which is manipulated around the head of a panting dog, the listener then listening this taking of sounds, having the impression that the dog turns on itself and, according to movements of the assembly 50, moves away and approaches.
  • the sound source is a musical instrument
  • a magnetic tape broadcast by an acoustic enclosure can be re-recorded then placed in a different, artificial sonic space.
  • the displacement of the whole assembly and the microphones it carries allows to vary differentially the distance, in all directions of space, of each micro in relation to the source and to present to this source, one of the two faces of the plane transversal virtual.
  • the method of the invention can be used with several sound sources and no longer just one and when we record, for example, a symphony orchestra or a large jazz band, it is possible to make effects equivalent to those of zoom in optics, namely that without modifying the musical performance in any way, we can favor this or that instrument or one part of the orchestra over another.
  • FIG. 17 we see a particular application of the invention which is illustrated by an example first of all providing sound recording studio 60, including a microphone 61 of any known type and which we have chosen here as being of monophonic type.
  • the microphone 61 is connected by a conducting cable 62 to a recording device 63 which is here symbolized by a cassette recorder.
  • the recorded cassette 64 therefore contains a so-called "initial” recording which can be qualify as "flat” because the sound recording in studio 60 was done in silence.
  • the recording therefore only concerns words spoken in front of the microphone 61 or that music isolated from any atmosphere.
  • the cassette 64 is placed in a reading device 65, as evoked by the arrow F4, connected to two speakers 66 and 67, the whole being located in a location 70 separate from the recording studio 60.
  • the sounds broadcast by the signals are captured and then recorded.
  • pregnant 66 and 67 contrary to all universally accepted principles that leave of the observation that the quality of the sounds collected is degraded by the characteristics of the reader, its vibrations and its imperfections, without counting the defects of the support recording or any extraneous noise existing in the place where this is done recording.
  • the invention makes it possible, from this initial recording, to obtain a recording so-called "specific" stereophonic by means of a set 50, in a large room, such as a concert or performance hall, so that the specific recording adds to the orchestra the atmosphere and the reverberations of the room, the whole being enriched by the conditions for taking sounds specific to the invention.
  • the assembly 50 is connected by a conductor 71 to a recording device stereophonic 73 by which one obtains a specific recording on a support that we have schematized here by a cassette 74.
  • a room 75 which can be a studio, we place the recording medium initial 64 in a reader 76 (arrow F6) and the specific recording medium 74 in a reader 77 (arrow F7), both connected to a recording device 78 by conductors 79 and 80.
  • This recording device can obviously be optimized by means specific devices such as multitrack recording devices, software using the so-called “D t D” technology, abbreviation of "Direct to Disk”, etc.
  • This recording medium constitutes, after the specific processing of mastering, the master from which one can make as many copies as there is required, copies for commercial distribution.
  • cassettes which have been represented in FIG. 17 can, in the reality, being recording media of all kinds, including soundtracks motion picture films or video cassettes.
  • These recording media are intended for reading devices themselves any known type, associated with transducers such as headphones or speakers.
  • enclosures arranged as explained higher: near the screen, on the sides and at the back of the room constitute a whole with performances unknown to date, in particular by the fact that the sound recording according to the invention makes it possible to restore a "sliding sound" when listening completely eliminating the sound hole effect, so it is now possible to circulate sounds from speaker to speaker without any discontinuity and, by Consequently, the use of multiple speakers is no longer reserved for the reproduction of fast, dazzling sounds, but also to slower sounds, such as the steps of a character approaching or moving away.
  • the listener at his home listens to an orchestra as if he were alone in the concert hall, with the whole feeling of space and realism, but without the disadvantages of a large audience: repeated coughing, unwanted applause, etc.
  • the sound levels of players 76 and 77 are adjusted so that the sound level of the initial recording is at a level that we consider as a reference level, while the sound level of the recording specific can evolve on either side of the reference level.
  • the sound level of the recording specific ranges from - 5 to + 5, depending on the specific spatialization effect that we wish to obtain.

Abstract

The sound recording technique has two microphones (11,12) mounted on an assembly a set distance apart and recording sounds from an instrument (A) using a recorder (20). During the recording the microphones are moved around (F1) changing their relative positions and reversing their relative positions (F2).

Description

On connaít depuis longtemps l'enregistrement et la restitution stéréophonique de sons.We have known for a long time the recording and stereophonic reproduction of sounds.

La prise de sons se fait par au moins deux micros fixés dans une position et une orientation précises et considérées comme " stratégiques " par rapport à la source de son.Sound recording is done by at least two microphones fixed in one position and one specific orientation and considered as "strategic" in relation to the source of his.

Les sons provenant de l'un de ces deux micros, ou d'un ensemble de micros, sont enregistrés sur une piste tandis que les sons provenant du second micro, ou du second ensemble de micros, sont enregistrés sur une autre piste, distincte de la première.The sounds coming from one of these two microphones, or from a set of microphones, are recorded on a track while sounds from the second microphone, or the second set of microphones, are recorded on another track, separate from the first.

La restitution des sons enregistrés se fait par au moins deux enceintes acoustiques (ou haut-parleurs) convenablement placées et orientées.The recorded sounds are played back through at least two loudspeakers (or speakers) suitably placed and oriented.

La binarité de tout système stéréophonique provient de la transposition aux sons de la stéréoscopie, première en date, elle-même basée sur la vision binoculaire de l'Homme.The binarity of any stereophonic system comes from the transposition to the sounds of the stereoscopy, first in date, itself based on the binocular vision of Man.

Or, si les systèmes optiques exploitant cette vision binoculaire, les hologrammes, les images bipolarisées ou les anaglyphes par exemple, reproduisent assez bien le relief visuel (au prix d'ailleurs de bien des artifices), il n'en est pas de même des systèmes stéréophoniques, du fait même de leur simplisme qui voudrait que de manière naturelle, l'Homme entende tous les sons de l'espace à partir de deux sources seulement.However, if the optical systems exploiting this binocular vision, the holograms, the bipolarized images or anaglyphs for example, reproduce the relief quite well visual (at the cost of many artifices, moreover), it is not the same for systems stereophonic, by the very fact of their simplicity which would like that in a natural way, Man hears all the sounds of space from only two sources.

En d'autres termes, tous les sons complexes et répartis dans un espace à trois dimensions, incluant des niveaux différents, sont ramenés au seul plan qui réunit les enceintes acoustiques et à leur seul niveau.In other words, all complex sounds distributed in a space of three dimensions, including different levels, are reduced to the single plane which brings together the loudspeakers and at their only level.

On se contente généralement de cette simplification parce que le cerveau humain reconstitue virtuellement un véritable espace, notamment grâce à l'équilibre que l'on construit délibérément entre différentes sources sonores, de telle manière que l'auditeur a, ou plutôt croit avoir, une sensation de relief.We are generally satisfied with this simplification because the human brain virtually reconstitutes a real space, notably thanks to the balance that deliberately built between different sound sources, so that the listener has, or rather believes to have, a feeling of relief.

Il n'est pas utile de s'étendre sur le rappel qu'un relief implique trois dimensions et non pas deux, et l'on comprend aisément qu'aussi loin que l'on puisse aller dans les perfectionnements de la reproduction sonore ponctuelle, la stéréophonie contient ses propres limites par le seul fait qu'elle ramène à deux le nombre de sources sonores offertes à l'écoute de l'auditeur, elles-mêmes assujetties à la limite de pistes d'enregistrement, sans aucune possibilité de troisième dimension.It is not useful to expand on the reminder that a relief involves three dimensions and not not two, and we can easily understand that as far as we can go in the improvements in punctual sound reproduction, stereophony contains its own limits by the simple fact that it reduces the number of sound sources to two offered to listen to the listener, themselves subject to the track limit without any possibility of a third dimension.

Pour situer l'Etat de la Technique, on peut citer les documents suivants :

  • Figure 00020001
    Article de Monsieur A. Laracine publié dans la revue " ZERO VU ", pages 40, 42, 44, 46, 47 et 48 qui rappelle que... " la stéréophonie n'est qu'une étape et que l'auditeur n'y trouve pas toujours ses possibilités d'écoute intelligente mais tout de même les principales ainsi qu'une partie importante de sa liberté, donc de son confort d'écoute ".
       Cet auteur rappelle également que, s'agissant de musique orchestrale,... "si l'équilibre général de l'oeuvre a été obtenue par le preneur de son et cela grâce à un bon emplacement microphonique, toute intervention supplémentaire importante (niveau, corrections, différence de présence) sera ressentie comme une sorte de " pléonasme " sonore et perturbera l'attention de l'auditeur ". Et, plus loin : " Une solution consiste à utiliser des microphones cardioïdes disposés à 17 cm l'un de l'autre, leurs axes formant entre eux un angle de 110 °. Tous les calculs, toutes les mesures et les très nombreuses expériences comparatives se rejoignent pour prouver que ce système est le meilleur compromis possible. Il est connu sous le nom de système AB O.R.T.F. car mis au point dans le laboratoire d'acoustique de l'ex-O.R.T.F..
       Naturellement, tous les systèmes d'enregistrement connus concernent des micros positionnés, fixés une fois pour toutes tant que dure l'enregistrement. A preuve cet extrait du même article : " ...dans le cas de prises de sons rapprochés, on constate un écartèlement de l'espace. Cet écartèlement est le même que celui que ressent un spectateur (sic) s'il s'approche de la même façon des sources sonores ".Le nombre de sources sonores étant toujours égal à deux et étant occupant une position fixe dont on ne peut les extraire, l'angle sous lequel l'auditeur perçoit les sons venant de ces deux sources varie selon la place qu'il occupe par rapport à elles et ... "La difficulté provient de ce qu'il n'est pas possible de demander à un auditeur de s 'approcher momentanément de ses enceintes acoustiques. Il faut donc trouver des moyens de créer des défauts au couple O.R.T.F. compensant son inadaptation à certaines situations. On peut ... soit faire pivoter le couple sur son axe afin de lui faire occuper une position intermédiaire entre le plan horizontal et le plan vertical ".
       L'existence d'une position occupée montre bien, ici encore, que le couple est positionné et fixé.
       Dans la publication du réseau Internet, à l'adresse http :\\www.stéreolith.ch, et intitulée "Stereolith® système" il est précisé que : "Lors d'un enregistrement stéréophonique, l'espace sonore est codé à l'aide d'une matrice à deux canaux (dipôles). Pour ce faire, on utilise par exemple un couple de microphones. Chacun des microphones fournit un signal qui, selon l'emplacement de la source sonore, sera légèrement différent. Cette faible différence est capitale. C'est d'elle uniquement que dépend la spatialité de l'enregistrement. Et plus loin: " En musique électronique moderne, l'indispensable espace sonore est produit en studio, au moyen de processeurs tridimensionnels (sic) spéciaux.
       Cette même publication contient l'indication suivante à propos de l'écoute au moyen d'enceintes acoustiques : " En dehors du point idéal d'écoute, la reconstitution de l'image sonore par notre cerveau est impossible : les informations élémentaires manquent ou sont faussées. Ainsi, bien souvent, nous n'obtenons qu'une reproduction bicanal au lieu d'une reproduction stéréophonique ".
  • Le document publié par la société Schoeps GmbH, Spitalstr. 20, 7500 Karlsruhe 41 (Allemagne) décrit un couple de microphones associé à une sphère basée sur la tête humaine et qui constitue un ensemble devant être fixé à un emplacement " stratégique": " La nouvelle approche devait prendre en compte tous les paramètres caractérisant la source sonore et sa localisation ". Il s'agit donc bien d'une source sonore immobile, située à un emplacement donné par rapport au couple de micros, lui-même immobile. La spécification technique de cet appareil précise, d'ailleurs, que l'angle de prise de son est fixé à environ 90° et qu'il existe :
    • un accessoire compris dans la fourniture du dispositif lui-même et qui est un " accessoire pour suspendre le microphone avec articulation par rotule. Poids total : environ 0,5 kg "..
    • " une rotule pour montage sur pied ".
       Des sphères portant deux microphones existent d'ailleurs selon différentes variantes, dont l'une est décrite dans le document de brevet EP 0 050 100, toutes apportant des perfectionnements à la structure de la sphère, afin de la rapprocher le plus possible d'une véritable tête humaine, dans l'espoir de faire coïncider les conditions d'enregistrement avec les conditions d'écoute mais, comme on l'a indiqué plus haut, la limite de la stéréophonie est dans sa binarité et, donc, dans la situation statique des micros et des enceintes acoustiques, situés respectivement en amont et en aval des pistes d'enregistrement.
  • Le document de brevet FR 2 290 811 qui décrit un appareil pour capter des sons destiné à supprimer les sons considérés comme parasites par rapport à ceux que l'on souhaite capter, ce dispositif comprenant un seul ou deux micros, selon que l'appareil est destiné à une seule personne ou à deux. Un exemple d'utilisation de cet appareil est la diffusion directe, sans enregistrement, de paroles prononcées par une ou deux personnes situées dans un véhicule en mouvement, au moyen de puissants haut-parleurs. Un autre exemple d'utilisation de cet appareil est son intégration dans un téléphone à haut-parleur.
       Le résultat recherché est la pureté des sons diffusés, obtenue par élimination des échos, bruits d'ambiance et sons de plein air.
  • Le document de brevet DE 1 239 355 qui décrit un appareil comprenant un pied et deux micros orientables par rapport à un support fixé au pied. Cet appareil est donc fixe et ses micros sont susceptibles de mouvements relatifs à l'endroit où l'appareil est posé.
  • Le document de brevet EP 0 186 996 qui décrit une structure particulière de microphone permettant d'être très directif lorsqu'il est disposé à un endroit précis par rapport à une source sonore. Le micro est donc fixe et tend, de même que le dispositif du document FR 2 290 811, à éviter les bruits d'ambiance et les échos dus aux caractéristiques acoustiques de l'endroit où les sons sont captés.
  • A noter que ce document ne prévoit pas d'enregistrement, ni de diffusion de sons puisqu'il se limite à la structure d'un micro et la description de la figure 4 semble signifier que l'invention est appliquée à un téléphone de voiture dit " à mains libres".
    • To situate the state of the art, the following documents can be cited:
  • Figure 00020001
    Article by Mr. A. Laracine published in the review "ZERO VU", pages 40, 42, 44, 46, 47 and 48 which recalls that ... " stereophony is only a stage and that the listener does not there is not always its possibilities of intelligent listening but all the same the main as well as an important part of its freedom, therefore of its listening comfort ".
    This author also recalls that, in the case of orchestral music, ... "if the overall balance of the work was obtained by the sound engineer and this thanks to a good microphone location, any significant additional intervention (level, corrections, difference in presence) will be felt as a sort of sonic "pleonasm" and will disturb the listener's attention ". And, further on: "One solution consists in using cardioid microphones placed 17 cm apart, their axes forming an angle of 110 ° between them. All the calculations, all the measurements and the very many comparative experiments come together to prove that this system is the best compromise possible. It is known as the AB ORTF system because it was developed in the acoustics laboratory of the former ORTF.
    Naturally, all known recording systems relate to positioned microphones, fixed once and for all as long as the recording lasts. As proof, this extract from the same article: "... in the case of close-up sound, there is a separation of the space. This separation is the same as that felt by a spectator (sic) if he approaches in the same way of the sound sources ". The number of sound sources being always equal to two and being occupying a fixed position from which one cannot extract them, the angle under which the listener perceives the sounds coming from these two sources varies the place it occupies in relation to them and ... "The difficulty stems from the fact that it is not possible to ask a listener to momentarily approach his loudspeakers. We must therefore find ways to create defects in the ORTF couple compensating for its inadequacy in certain situations. We can ... either rotate the couple on its axis in order to make it occupy an intermediate position between the horizontal plane and the vertical plane .
    The existence of an occupied position clearly shows, here again, that the couple is positioned and fixed.
    In the publication of the Internet network, at the address http: \\ www.stéreolith.ch, and entitled "Stereolith® system" it is specified that: "During a stereophonic recording, the sound space is coded with using a two-channel matrix (dipoles). To do this, for example, we use a couple of microphones. Each of the microphones provides a signal which, depending on the location of the sound source, will be slightly different. capital. Only the spatiality of the recording depends on it. And further: " In modern electronic music, the essential sound space is produced in the studio, using special three-dimensional processors (sic).
    This same publication contains the following indication concerning listening by means of acoustic speakers: "Apart from the ideal point of listening, the reconstruction of the sound image by our brain is impossible: basic information is missing or is So very often we only get two-channel reproduction instead of stereophonic reproduction. "
  • The document published by Schoeps GmbH, Spitalstr. 20, 7500 Karlsruhe 41 (Germany) describes a pair of microphones associated with a sphere based on the human head and which constitutes a set to be fixed at a "strategic" location: "The new approach had to take into account all the parameters characterizing the sound source and its location ". It is therefore indeed a stationary sound source, located at a given location relative to the pair of microphones, itself stationary. The technical specification of this device specifies, moreover, that the sound pickup angle is fixed at about 90 ° and that there are:
    • an accessory included in the supply of the device itself and which is an "accessory for hanging the microphone with articulation by ball joint. Total weight: approximately 0.5 kg" ..
    • "a ball joint for mounting on foot".
    Spheres carrying two microphones also exist according to different variants, one of which is described in patent document EP 0 050 100, all bringing improvements to the structure of the sphere, in order to bring it as close as possible to a real human head, in the hope of making the recording conditions coincide with the listening conditions but, as indicated above, the limit of stereophony is in its binarity and, therefore, in the static situation microphones and loudspeakers, located respectively upstream and downstream of the recording tracks.
  • Patent document FR 2 290 811 which describes an apparatus for picking up sounds intended to suppress the sounds considered as parasitic with respect to those which one wishes to pick up, this device comprising a single or two microphones, depending on whether the device is for one or two people. An example of use of this device is the direct broadcasting, without recording, of words spoken by one or two people located in a moving vehicle, by means of powerful speakers. Another example of using this device is its integration into a speaker phone.
    The desired result is the purity of the diffused sounds, obtained by eliminating echoes, ambient noises and sounds of the outdoors.
  • Patent document DE 1 239 355 which describes an apparatus comprising a stand and two microphones which can be oriented relative to a support fixed to the stand. This device is therefore fixed and its microphones are susceptible to movement relative to the place where the device is placed.
  • Patent document EP 0 186 996 which describes a particular structure of microphone making it possible to be very directive when it is placed at a precise location with respect to a sound source. The microphone is therefore fixed and tends, like the device in document FR 2 290 811, to avoid ambient noise and echoes due to the acoustic characteristics of the place where the sounds are picked up.
  • Note that this document does not provide for recording or broadcasting sounds since it is limited to the structure of a microphone and the description in Figure 4 seems to mean that the invention is applied to a so-called car phone. "hands free".

    • La présente invention concerne un procédé différent de ceux connus, basé sur la diffusion de sons très réalistes, c'est-à-dire proches de la réalité, ce qui suppose en particulier un fort " relief" et la présence de sons d'ambiance, correspondant aux conditions de la réalité. L'invention permet ainsi de reconstituer, à l'écoute, un espace sonore à trois dimensions, y compris les niveaux verticaux et les espaces avant et arrière par rapport à l'auditeur.The present invention relates to a process different from those known, based on the diffusion of very realistic sounds, that is to say close to reality, which supposes in particularly a strong "relief" and the presence of ambient sounds, corresponding to conditions of reality. The invention thus makes it possible to reconstruct, when listening, a space three-dimensional sound, including vertical levels and front and rear spaces compared to the listener.

    A cette fin, l'invention a pour objet un procédé de traitement de sons selon la revendication 1.To this end, the subject of the invention is a method for processing sounds according to claim 1.

    L'invention a également pour objet un dispositif comprenant un ensemble de prise de sons et un ensemble de diffusion selon la revendication 6. The invention also relates to a device comprising a set of taking sounds and a broadcast system according to claim 6.

    L'invention et d'autres caractéristiques complémentaires seront mieux comprises par la description détaillée ci-après faite en référence au dessin annexé. Bien entendu, la description et le dessin ne sont donnés qu'à titre d'exemple indicatif et non limitatif.

  • La figure 1 est une vue schématique illustrant le procédé et le dispositif conformes à l'invention, selon un mode de réalisation très simple.
  • La figure 2 est une vue schématique illustrant l'une des nombreuses phases possibles du procédé, selon le même mode de réalisation du dispositif que celui de la figure 1.
  • La figure 3 est une vue schématique d'un mode de réalisation plus élaboré du dispositif conforme à l'invention.
  • Les figures 4 à 6 sont des vues schématiques illustrant une manipulation d'un dispositif selon le procédé de l'invention, pour l'enregistrement variable d'une source sonore fixe.
  • Les figures 7 à 9 sont des vues schématiques analogues aux figures 4 à 6, illustrant une autre manipulation du même dispositif selon le procédé de l'invention, pour l'enregistrement de la même source sonore fixe.
  • Les figures 10 à 12 sont des vues schématiques illustrant, pour un auditeur immobile, les impressions sonores variables qu'il perçoit selon les positions du dispositif des figures 4 à 6.
  • Les figures 13 à 15 sont des vues schématiques illustrant, pour un auditeur immobile, les impressions sonores variables qu'il perçoit selon les positions du dispositif des figures 7 à 9.
  • La figure 16 est une vue schématique illustrant une prise de son sur le vif conforme à l'invention.
  • La figure 17 est une vue schématique illustrant une caractéristique de l'invention qui comprend un enregistrement de sons émis par des appareils de rayonnement d'énergie acoustique dans l'espace environnant, à savoir ici des enceintes acoustiques.
    • The invention and other additional characteristics will be better understood from the detailed description below made with reference to the accompanying drawing. Of course, the description and the drawing are given only by way of an indicative and nonlimiting example.
  • Figure 1 is a schematic view illustrating the method and the device according to the invention, according to a very simple embodiment.
  • FIG. 2 is a schematic view illustrating one of the many possible phases of the method, according to the same embodiment of the device as that of FIG. 1.
  • Figure 3 is a schematic view of a more elaborate embodiment of the device according to the invention.
  • Figures 4 to 6 are schematic views illustrating a manipulation of a device according to the method of the invention, for the variable recording of a fixed sound source.
  • Figures 7 to 9 are schematic views similar to Figures 4 to 6, illustrating another manipulation of the same device according to the method of the invention, for recording the same fixed sound source.
  • FIGS. 10 to 12 are schematic views illustrating, for a stationary listener, the variable sound impressions which he perceives according to the positions of the device of FIGS. 4 to 6.
  • FIGS. 13 to 15 are schematic views illustrating, for a stationary listener, the variable sound impressions which he perceives according to the positions of the device of FIGS. 7 to 9.
  • Figure 16 is a schematic view illustrating a sound recording on the spot according to the invention.
  • FIG. 17 is a schematic view illustrating a characteristic of the invention which comprises a recording of sounds emitted by acoustic energy radiation devices in the surrounding space, namely here loudspeakers.

    • La stéréophonie ne peut concerner qu'une pluralité de sources sonores ou une répartition spatiale importante. L'enregistrement d'un orchestre symphonique sur deux pistes et la restitution des enregistrements des deux pistes par deux enceintes ou deux écouteurs n'aurait pas réellement d'intérêt en soi si cette stéréophonie ne constituait pas un puissant stimulus du cerveau humain qui reconstitue artificiellement pour l'auditeur, par analogie inconsciente de souvenirs mémorisés, l'atmosphère d'une salle de concert à laquelle il attribue une profondeur et une largeur. Sinon, l'auditeur se contenterait d'entendre les violons à gauche et les contrebasses à droite, les autres instruments se répartissant partiellement à gauche et à droite, sans aucun relief.Stereophony can only concern a plurality of sound sources or a distribution significant spatial. The recording of a symphonic orchestra on two tracks and the playback of the recordings of the two tracks by two speakers or two headphones would not really be of interest in itself if this stereophony did not constitute a powerful stimulus from the human brain that artificially reconstructs for the listener, by unconscious analogy of memorized memories, the atmosphere of a concert hall in which he attributes a depth and a width. Otherwise, the auditor would be content to hear the violins on the left and the double basses on the right, the other instruments distributing partially left and right, without any relief.

    Ce défaut est inhérent à la stéréophonie et se fait particulièrement sentir lorsque la diffusion a lieu dans une salle de spectacle, en particulier une salle de cinéma, quand on dispose des enceintes acoustiques non seulement à l'avant, côté écran, mais également à l'arrière de la salle.This defect is inherent in stereophony and is particularly felt when the broadcasting takes place in a performance hall, in particular a cinema, when has speakers not only at the front, screen side, but also at the back of the room.

    En effet, le but recherché est de donner au mieux une sensation d'espace sonore aux spectateurs en distribuant les sons de telle sorte que la perception sonore d'un mouvement suggéré à l'image soit le plus réaliste possible.In fact, the aim is to best give a feeling of sound space to the spectators by distributing the sounds so that the sound perception of a movement suggested in the image is as realistic as possible.

    Ainsi, si l'objet représenté à l'écran est un avion qui vient de face et survole la caméra de prise de vues, la reproduction du son correspondant par une ou plusieurs enceintes acoustiques situées à proximité de l'écran ne permettra pas aux spectateurs de percevoir une sensation réaliste du survol de cet avion au-dessus d'eux, dans la salle de cinéma.So, if the object represented on the screen is an airplane that comes from the front and flies over the camera shooting, reproduction of the corresponding sound by one or more speakers acoustics located near the screen will not allow viewers to perceive a realistic feeling of the overflight of this plane above them, in the cinema hall.

    On dispose des enceintes acoustiques sur les côtés de la salle, depuis l'avant jusqu'au fond, et les sons enregistrés reproduisant le vrombissement des moteurs passent de l'avant à l'arrière en une séquence si rapide que les spectateurs ont l'impression que les sons progressent de manière continue. En réalité, les sons sautent brusquement des enceintes de l'avant aux enceintes de l'arrière, dites " surround ", et si le déplacement des sons devait être lent, le spectateur le moins attentif serait immédiatement choqué par une sensation de " trou sonore " résultant des limites mêmes de la stéréophonie lorsque les sons passent d'une enceinte à l'autre, et cela d'autant plus sensible que les enceintes sont plus éloignées l'une de l'autre.We have acoustic speakers on the sides of the room, from the front to background, and the recorded sounds reproducing the roar of the motors pass from the front to the back in such a fast sequence that the spectators have the impression that the sounds progress continuously. In reality, the sounds suddenly jump from front speakers to rear speakers, say "surround", and if the displacement sounds should be slow, the least attentive spectator would be immediately shocked by a feeling of "sound hole" resulting from the very limits of stereophony when the sounds pass from one speaker to another, and this all the more sensitive as the speakers are more distant from each other.

    Il en est évidemment de même pour reproduire les sons d'un objet se déplaçant de gauche à droite ou de droite à gauche lorsqu'il n'y a que deux enceintes. En stéréophonie, hormis l'utilisation artificielle et limitée des " panoramiques " (réglage simultané des puissances sonores dirigées vers les deux enceintes, l'une dans le sens d'une diminution, et l'autre dans le sens d'une augmentation) dans le plan des enceintes, il est en effet impossible de créer un effet de déplacement à proprement parler " visuel ", c'est-à-dire fluide et continu. Ceci limite les possibilités d'enregistrement car, alors, on doit se contenter de reproduire des sons qui, de manière naturelle, se situent respectivement soit à droite, soit à gauche.It is obviously the same to reproduce the sounds of an object moving from left to right or right to left when there are only two speakers. In stereophony, apart from the artificial and limited use of "panoramas" (adjustment simultaneous sound power directed to the two speakers, one in the direction of a decrease, and the other in the direction of an increase) in the plane of the speakers, it is indeed impossible to create a displacement effect strictly speaking "visual", that is to say fluid and continuous. This limits the possibilities of recording because, then, we must be content to reproduce sounds which, naturally, are located respectively either to the right or to the left.

    Lorsque l'on enregistre un ensemble complexe, ce qui est le cas d'un orchestre symphonique, on place les micros une fois pour toutes en des endroits précis et l'on doit établir de manière assez stricte l'emplacement relatif des enceintes acoustiques qui reproduisent les sons enregistrés sur un support et celui de l'auditeur, cet emplacement correspondant aux trois sommets d'un triangle, l'effet optimum étant obtenu lors que les ondes sonores des deux enceintes se croisent dans l'espace environnant la tête de l'auditeur.When you record a complex ensemble, which is the case with an orchestra symphonic, we place the microphones once and for all in specific places and we must fairly strictly establish the relative location of the loudspeakers which reproduce the sounds recorded on a support and that of the listener, this location corresponding to the three vertices of a triangle, the optimum effect being obtained when the sound waves from the two speakers cross in the space surrounding the head of the listener.

    Par ailleurs, la prise de sons se faisant toujours à partir de micros fixes placés à des endroits qualifiés de " stratégiques ", l'auditeur n'a pas réellement la notion d'espace en trois dimensions mais de relief grâce, encore, au stimulus du cerveau qui imagine le lieu de la prise de sons.In addition, sound recording is always done from fixed microphones placed at qualified as "strategic" places, the listener does not really have the concept of space in three dimensions but in relief thanks, again, to the stimulus of the brain which imagines the place sound recording.

    En effet, la fixité des micros, la fixité des sources sonores et la fixité des enceintes acoustiques, ont pour effet de figer l'ensemble des sons dans un volume illusoire car aucune différence de sons n'est perçu par rapport à la hauteur.The fixity of the microphones, the fixity of the sound sources and the fixity of the speakers acoustic, have the effect of freezing all the sounds in an illusory volume because no difference in sound is perceived in relation to the pitch.

    En stéréophonie, il n'y a ni bas ni haut.In stereophony, there is neither low nor high.

    En ce qui concerne le cinéma, on sait qu'il est assez souvent impossible d'enregistrer correctement les dialogues de comédiens qui sont situés dans des endroits particulièrement bruyants : lieu public avec bruits de voix, gare avec bruits de trains et d'annonces par haut-parleurs, bord de mer avec bruits de vagues, etc. Regarding cinema, we know that it is quite often impossible to record correctly the dialogues of actors who are located in places particularly noisy: public place with noise of voices, station with noise of trains and announcements by loudspeakers, seaside with sound of waves, etc.

    On procède alors à la postsynchronisation qui consiste à réenregistrer en studio, dans le plus grand silence, les mêmes comédiens jouant le même dialogue et observant le film projeté sans son. Ainsi, le film terminé comprend une " bande image " filmée en direct et une " bande son " formée par la superposition des sons d'origine dont la médiocrité, ou même l'absence, est compensée par le ré enregistrement en studio.We then proceed to the post-synchronization which consists of re-recording in the studio, in the greater silence, the same actors playing the same dialogue and watching the film projected without sound. Thus, the finished film includes a "picture tape" filmed live and a "soundtrack" formed by the superimposition of the original sounds including mediocrity, or even the absence, is compensated by the re recording in the studio.

    Malheureusement cette méthode est très imparfaite car elle manque totalement de réalisme puisque dans la réalité, les paroles prononcées en situation auraient eu une tonalité complètement différente et la physiologie humaine est telle que ces paroles auraient été bien comprises malgré les bruits parasites, en raison de la sélectivité de l'oreille humaine. Les spectateurs se contentent de la sonorisation actuelle faute d'élément de comparaison, comme les auditeurs ont apprécié les enregistrements musicaux sur des disques 78 tours, puis 33 tours, mais maintenant que l'on dispose de disques laser, il est très difficile de revenir aux conditions d'écoute antérieures.Unfortunately this method is very imperfect because it totally lacks realism since in reality, the words spoken in situation would have had a completely different tone and human physiology is such that these words would have been well understood despite the noise, due to the selectivity of the human ear. Spectators are content with the current PA system for comparison, as the listeners appreciated the recordings 78 rpm records, then 33 rpm records, but now that we have laser discs, it is very difficult to revert to the previous listening conditions.

    L'invention propose un nouveau procédé d'enregistrement qui permet de créer réellement non pas un simple volume fini mais un espace sonore à trois dimensions immédiatement perceptible par un auditeur, transversalement (de - ∞ à gauche à + ∞ à droite en passant par la proximité immédiate), en hauteur (de bas en haut et vice versa), longitudinalement (de - ∞ derrière l'auditeur à + ∞ devant l'auditeur en passant par la proximité immédiate).The invention proposes a new recording method which makes it possible to really create not a simple finished volume but a three-dimensional sound space immediately perceptible by a listener, transversely (from - ∞ on the left to + ∞ on the right via the immediate proximity), vertically (from bottom to top and vice versa ), longitudinally (from - ∞ behind the listener to + ∞ in front of the listener via immediate proximity).

    En outre, l'invention permet de réaliser des enregistrements particulièrement vivants en procurant des conditions d'écoute extrêmement proches de ce qu'elles auraient dû être sur place, lors de l'enregistrement.In addition, the invention makes it possible to make particularly lively recordings in providing listening conditions extremely close to what they should have been on site during check-in.

    Le dispositif de prise de son est spécifique et le procédé est tout à fait différent des procédés actuels puisque l'on peut même montrer qu'il est contraire à toutes les préconisations connues.The sound recording device is specific and the process is completely different from current processes since we can even show that it is contrary to all known recommendations.

    La reproduction des sons enregistrés se fait au moyen d'écouteurs ou d'enceintes selon les conditions d'écoute : en privé, en public, à partir d'un disque, à partir d'une bande son d'un film, etc.The recorded sounds are reproduced using headphones or speakers depending on listening conditions: in private, in public, from a disc, from a tape sound of a film, etc.

    Avec l'invention, il est possible de créer des effets inconnus jusqu'à ce jour, notamment en donnant un effet sonore de mobilité à partir de l'enregistrement d'une seule source sonore. With the invention, it is possible to create effects unknown to date, in particular by giving a mobility sound effect from the recording of a single source sound.

    En se reportant aux figures 1 et 2, on voit un dispositif conforme à l'invention sous sa forme la plus simple. Il comprend un ensemble autonome de prise de sons 10 formé de deux micros 11 et 12 réunis rigidement par une tige 13 dont la longueur est proche de la distance en ligne droite qui sépare les deux oreilles d'un être humain courant et qui porte un écran longitudinal plan 14 ayant les meilleures qualités l'isolation phonique possible pour individualiser au mieux des deux micros 11 et 12. En outre, l'ensemble 10 est solidaire d'une poignée de manoeuvre 15 car il ne comporte aucun organe de fixation ou d'immobilisation. Un câble électrique 16 contenant des conducteurs spécifiques à chacun des deux micros 11 et 12 réunit l'ensemble 10 et un appareil d'enregistrement 20 de tout type connu susceptible de différencier les signaux provenant des micros 11 et 12. Ici, on a schématisé un ensemble permettant d'utiliser une cassette 21 symbolisant tout support d'enregistrement.Referring to Figures 1 and 2, we see a device according to the invention in its simplest form. It includes an autonomous set of sound recording 10 formed of two microphones 11 and 12 rigidly joined by a rod 13 whose length is close to the straight line distance between the two ears of a common human being and who carries a plane longitudinal screen 14 having the best soundproofing qualities possible to best individualize the two microphones 11 and 12. In addition, the set 10 is integral with an operating handle 15 because it has no fixing member or immobilization. An electric cable 16 containing specific conductors for each of the two microphones 11 and 12 brings together the assembly 10 and a recording device 20 of any known type capable of differentiating the signals from microphones 11 and 12. Here, we have schematized an assembly allowing the use of a cassette 21 symbolizing everything recording medium.

    La cassette 21 est ensuite utilisée comme d'habitude par lecture dans un appareil de restitution des sons 30 auquel un casque 40 muni de deux écouteurs 41 et 42 est relié par un câble de tout type connu 43 contenant des conducteurs spécifiques à chacun des écouteurs 41 et 42.The cassette 21 is then used as usual by reading in a recording device. sound reproduction 30 to which a headset 40 fitted with two headphones 41 and 42 is connected by a cable of any known type 43 containing conductors specific to each of the headphones 41 and 42.

    Par rapport à une source sonore unique A, illustrée ici par une trompette, l'ensemble 1 est manipulé par un usager à partir de la position représentée à la partie supérieure droite de la figure 1.Compared to a single sound source A, illustrated here by a trumpet, the set 1 is manipulated by a user from the position shown in the upper right of figure 1.

    Sans changer de manière sensible la position dans l'espace de l'ensemble 1, l'usager peut faire pivoter, plus ou moins vite, l'ensemble 10 grosso modo selon l'axe de la poignée 15, de l'orientation dessinée en trait plein à l'orientation dessinée en tireté, comme cela est évoqué par la flèche double F1.Without appreciably changing the position in space of the assembly 1, the user can rotate, more or less quickly, the assembly 10 roughly along the axis of the handle 15, from the orientation drawn in solid line in the dashed orientation, as evoked by the double arrow F1.

    De ce fait, le micro 11 est plus près de la source A que le micro 12 dans une orientation et plus éloigné dans l'orientation inverse.Therefore, the microphone 11 is closer to the source A than the microphone 12 in an orientation and further away in the reverse orientation.

    Si l'usager déplace l'ensemble 10 selon la flèche F2, sensiblement sur le parcours d'un demi-cercle, mais sans modifier son orientation, le micro 11 restera le plus lointain des deux micros par rapport à la source A mais le son recueilli par le micro 12 ira d'abord en s'amplifiant puis en diminuant. Lorsque l'ensemble 10 sera au droit de la source A, c'est-à-dire quand l'écran plan 14 masquera presque complètement le micro 11, le son parvenant au micro 12 sera nettement prédominant et une faible partie résiduelle du son d'origine sera captée par le micro 11.If the user moves the assembly 10 according to arrow F2, substantially over the course of a semicircle, but without changing its orientation, the microphone 11 will remain the farthest two microphones compared to source A but the sound collected by microphone 12 will go first by increasing and then decreasing. When the set 10 will be at the source A source, that is to say when the flat screen 14 almost completely hides the microphone 11, the sound reaching the microphone 12 will be clearly predominant and a small residual part of the sound original will be picked up by the microphone 11.

    Sur la figure 2, on a montré le mouvement possible de l'ensemble 10 au-dessus de la source A, depuis une position de proximité en bas à gauche jusqu'à une position éloignée en haut à droite de cette figure sans changement d'orientation, ce qui correspond à une position relative constante des deux micros 11 et 12 par rapport à la source A, contrairement à l'exemple de la figure 1.In FIG. 2, the possible movement of the assembly 10 has been shown above the source A, from a position of proximity at the bottom left to a position distant at the top right of this figure without change of orientation, which corresponds to a constant relative position of the two microphones 11 and 12 relative to the source A, unlike the example in Figure 1.

    Ces modifications de prise de sons sont possibles non seulement parce que l'ensemble 10 comprend deux micros 11 et 12 mais aussi grâce à l'écran plan 14 qui est, pour l'usager, une matérialisation simple et efficace de l'orientation.These modifications of sound recording are possible not only because the whole 10 includes two microphones 11 and 12 but also thanks to the plan screen 14 which is, for the user, a simple and effective materialization of the orientation.

    En revanche, les deux micros 11 et 12 étant identiques, il est préférable de donner à l'usager un moyen d'identification des micros, par exemple en faisant figurer sur ceux-ci, ou à proximité immédiate, un repère " droite " - " gauche " puisque, on l'a compris, chaque micro correspond à l'un des écouteurs 41 et 42. Le micro 11 considéré comme le micro droit correspond à l'écouteur 41, et le micro 12 considéré comme gauche correspond à l'écouteur 42.On the other hand, the two microphones 11 and 12 being identical, it is preferable to give to the user a means of identifying the microphones, for example by making them appear, or in the immediate vicinity, a "right" - "left" mark since, as we have understood, each microphone corresponds to one of the earphones 41 and 42. The microphone 11 considered to be the right microphone corresponds to earphone 41, and microphone 12 considered to be left corresponds to earpiece 42.

    Un équivalent consisterait à indiquer, par exemple au moyen d'un flèche (non représentée) l'avant de l'écran plan 14 par rapport à son arrière.An equivalent would be to indicate, for example by means of an arrow (not shown) the front of the plane screen 14 relative to its rear.

    Sur la figure 3, on a représenté un mode de réalisation plus élaboré du dispositif qui, ici, comprend en plus de l'écran longitudinal plan 14, un écran transversal plan 17 qui s'étend d'un micro à l'autre, afin de déterminer un espace sonique en avant des micros 11 et 12 et un espace sonique en arrière desdits micros 11 et 12 car ceux-ci, confortés par l'écran longitudinal 14 ne différencient que les espaces latéraux droite et gauche.FIG. 3 shows a more elaborate embodiment of the device which, here, comprises in addition to the plane longitudinal screen 14, a plane transverse screen 17 which extends from one microphone to another, to determine a sonic space in front of the microphones 11 and 12 and a sonic space behind said microphones 11 and 12 because these, comforted by the longitudinal screen 14 differentiate only the right and left lateral spaces.

    Ce dispositif, muni de la même poignée 15 que celui des figures 1 et 2, peut être manipulé comme on l'a déjà évoqué mais, ici, les mouvements de l'ensemble 10 permettent de différencier nettement la prééminence des sons avant par rapport aux sons arrière et vice versa.This device, provided with the same handle 15 as that of FIGS. 1 and 2, can be manipulated as already mentioned but, here, the movements of the assembly 10 make it possible to clearly differentiate the pre-eminence of the front sounds compared to the rear sounds and vice versa .

    Ici, il est crucial pour l'usager de savoir en permanence, sans aucune ambiguïté, comment l'ensemble 10 est orienté afin de différencier chacune des deux faces avant et arrière de l'écran plan transversal 17 car les sons enregistrés lors d'un pivotement de l'ensemble 10 aboutit à un effet qui a des conséquences majeures sur la sensation d'écoute lors de la restitution des sons enregistrés. On comprend que dans cette hypothèse, l'auditeur entendra des sons devant lui ou derrière lui selon la face de l'écran transversal 17 qui est exposée directement à la source sonore et celle qui en est isolée par l'écran 17.Here, it is crucial for the user to know permanently, without any ambiguity, how the assembly 10 is oriented in order to differentiate each of the two front faces and rear of the transverse plane screen 17 because the sounds recorded during a pivoting of the set 10 results in an effect which has major consequences on the sensation when listening to the recorded sounds. We understand that in this hypothesis, the listener will hear sounds in front of him or behind him according to the face of the screen transverse 17 which is exposed directly to the sound source and the one isolated from it by screen 17.

    On observe, sur la figure 3, que les deux écrans plans 14 et 17, perpendiculaires, d'égales longueurs et d'égales hauteurs, peuvent être inscrits dans une sphère virtuelle B proche du volume standard d'une tête humaine.It can be seen in FIG. 3 that the two planar screens 14 and 17, perpendicular, of equal length and height, can be written in a virtual sphere B close to the standard volume of a human head.

    Or, on connaít des dispositifs de prise de sons constitués par des paires de micros placés en opposition sur des sphères et munis d'organes de fixation, en vue de leur positionnement dit " stratégique ".However, there are known sound recording devices constituted by pairs of microphones placed in opposition on spheres and provided with fixing members, with a view to their so-called "strategic" positioning.

    L'invention permet de réaliser les écrans respectivement longitudinal et transversal en les fusionnant en une sphère réalisée en matériau phoniquement isolant car la latéralité est marquée par la masse isolante de la sphère considérée transversalement et la différenciation avant - arrière provient de la masse isolante de la sphère considérée longitudinalement.The invention makes it possible to produce the longitudinal and transverse screens respectively in merging them into a sphere made of phonically insulating material because the laterality is marked by the insulating mass of the sphere considered transversely and the front-back differentiation comes from the insulating mass of the sphere considered longitudinally.

    C'est ce mode de réalisation qui est maintenant décrit et représenté sur les figures 4 à 9 et 16.It is this embodiment which is now described and represented in FIGS. 4 to 9 and 16.

    Cet ensemble sphérique 50 doit être démuni de tout organe de fixation, contrairement aux dispositifs connus, et la mobilité à laquelle il doit être soumis, impose à l'usager de disposer d'un moyen d'identification avant - arrière et/ou droite - gauche.This spherical assembly 50 must be devoid of any fixing member, unlike known devices, and the mobility to which it must be subjected, requires the user to have a means of identification front - rear and / or right - left.

    Comme, en outre, l'ensemble 50 doit posséder une poignée de manoeuvre 15, il est avantageux de concrétiser le repérage avant - arrière (d'où il résulte automatiquement le positionnement correct droite - gauche des micros 11 et 12) en donnant à la poignée 15 un profil dissymétrique constituant un détrompeur évitant une orientation inverse de celle souhaitée.Since, in addition, the assembly 50 must have an operating handle 15, it is advantageous to concretize the front - rear marking (from which it automatically results the correct positioning right - left of microphones 11 and 12) by giving the handle 15 an asymmetrical profile constituting a polarizer avoiding a reverse orientation of the one you want.

    Sur les figures 1 à 3 et 16, on voit que la poignée 15 est munie d'un fourreau 18 qui est lisse à l'arrière et crénelé à l'avant.In FIGS. 1 to 3 and 16, it can be seen that the handle 15 is provided with a sheath 18 which is smooth at the back and serrated at the front.

    Ainsi, l'usager comprend instinctivement que la crénelure avant détermine la position de ses doigts serrés sur le fourreau 18 (figure 16).Thus, the user instinctively understands that the front notch determines the position of his fingers clamped on the sheath 18 (Figure 16).

    Sur les figures 4 à 6, on a représenté un mouvement de pivotement simple de l'ensemble 50 par rapport à la source sonore A. In Figures 4 to 6, there is shown a simple pivoting movement of the assembly 50 with respect to sound source A.

    Sur la figure 4, le micro 12 est le plus proche de la source A et reçoit donc un flux sonique maximum, alors que le micro 11 est exactement opposé à la source A et ne reçoit que des sons résiduels, notamment dus à des échos.In FIG. 4, the microphone 12 is closest to the source A and therefore receives a flux maximum sonic, while the microphone 11 is exactly opposite source A and does not receives only residual sounds, notably due to echoes.

    Sur la figure 5, les micros 11 et 12 sont équidistants de la source A et reçoivent le même flux.In Figure 5, microphones 11 and 12 are equidistant from source A and receive the same flux.

    Sur la figure 6, le micro 11 est le plus proche de la source A et reçoit donc un flux sonique maximum, alors que le micro 12 est exactement opposé à la source A et ne reçoit que des sons résiduels, notamment dus à des échos. Cette orientation est donc exactement symétrique à celle de la figure 4.In FIG. 6, the microphone 11 is closest to the source A and therefore receives a flux maximum sonic, while microphone 12 is exactly opposite source A and does not receives only residual sounds, notably due to echoes. This orientation is therefore exactly symmetrical to that of figure 4.

    Il est possible de passer de l'une à l'autre des orientations des figures 4 et 6 plus ou mois rapidement mais, de toute façon, chaque micro 11-12 capte des sons qui vont crescendo pour l'un et decrescendo pour l'autre. On observe que le sens de pivotement donné par la flèche F3, implique que la poignée 15 passe de l'extrême gauche à l'extrême droite par le bas des figures, c'est-à-dire par l'arrière du plan transversal 14, ce qui signifie que les sons parviennent aux micros 11 et 12 continûment par l'avant du plan transversal 14.It is possible to switch from one of the orientations of FIGS. 4 and 6 more or months quickly but, anyway, each 11-12 mic picks up sounds that go crescendo for one and decrescendo for the other. We observe that the direction of pivoting given by arrow F3, implies that the handle 15 goes from the far left to the far right from the bottom of the figures, that is to say from the rear of the transverse plane 14, which means that sounds reach microphones 11 and 12 continuously from the front of the transverse plane 14.

    Les figures 7 à 9 sont similaires aux figures 4 à 6, mais l'ensemble 10, s'il pivote bien toujours dans le sens des flèches F3, a une position de départ dans laquelle le micro le plus proche de la source A est le micro 11.Figures 7 to 9 are similar to Figures 4 to 6, but the assembly 10, if it rotates well always in the direction of the arrows F3, has a starting position in which the microphone closest to source A is microphone 11.

    En conséquence, les sons provenant de la source A parviennent aux micros 11 et 12 continûment par l'arrière du plan transversal 14.As a result, sounds from source A reach microphones 11 and 12 continuously from behind the transverse plane 14.

    En se reportant maintenant aux figures 10 à 15, on voit comment les sons captés selon les schémas des figures 4 à 9 sont perçus par un auditeur, dont seule la tête est représentée vue de dessus, qui porte le casque 40 orienté de telle sorte que l'écouteur 41 couvre son oreille droite et l'écouteur 42 son oreille gauche.Referring now to Figures 10 to 15, we see how the sounds captured according to the diagrams of figures 4 to 9 are perceived by an auditor, of whom only the head is shown top view, which wears the helmet 40 oriented so that the earpiece 41 covers his right ear and the earpiece 42 his left ear.

    Les flèches symbolisent les sons selon la direction que perçoit l'auditeur mais il est évidemment impossible, sur le plan d'une feuille de papier, de figurer les trois dimensions de l'espace.The arrows symbolize the sounds according to the direction that the listener perceives but it is obviously impossible, on the plan of a sheet of paper, to represent the three dimensions of space.

    Sur la figure 10, l'auditeur entend presque exclusivement par l'oreille gauche portant l'écouteur 42 les sons captés par le micro 12 de la figure 4. In Figure 10, the listener hears almost exclusively through the left ear wearing the listener 42 the sounds picked up by the microphone 12 of FIG. 4.

    Sur la figure 11, l'auditeur entend des sons répartis de droite à gauche, selon une répartition panoramique de face, correspondant à l'orientation symétrique des micros 11 et 12 de la figure 5, le plan transversal virtuel de l'ensemble 10 ayant sa face avant disposée vers la source A.In FIG. 11, the listener hears sounds distributed from right to left, according to a panoramic front view, corresponding to the symmetrical orientation of the microphones 11 and 12 of FIG. 5, the virtual transverse plane of the assembly 10 having its front face arranged towards source A.

    Sur la figure 12, l'auditeur entend presque exclusivement par l'oreille droite portant l'écouteur 41 les sons captés par le micro 11 de la figure 6.In Figure 12, the listener hears almost exclusively through the right ear wearing the earpiece 41 the sounds picked up by the microphone 11 of FIG. 6.

    En supposant que l'ensemble 10 ait été déplacé dans le plan du dessin, l'auditeur perçoit des sons qui se déplacent de la gauche vers la droite, sensiblement à hauteur constante et dont la sensation de proximité reste inchangée.Assuming that the assembly 10 has been moved in the drawing plane, the listener perceives sounds moving from left to right, substantially at constant pitch and whose feeling of proximity remains unchanged.

    Mais si les mouvements de l'ensemble 10 lors de la prise de sons entraínent l'ensemble 10, en plus de son pivotement, de bas en haut ou de haut en bas, l'auditeur percevra parfaitement le changement de niveau.But if the movements of the set 10 when taking sounds cause the set 10, in addition to its pivoting, from bottom to top or top to bottom, the listener will perceive the level change perfectly.

    En outre, si l'ensemble 10 subit des mouvements de rapprochement et d'éloignement par rapport à la source A, l'auditeur aura l'impression très nette du déplacement de la source par rapport à lui.In addition, if the assembly 10 undergoes movements of reconciliation and distance compared to source A, the listener will have the very clear impression of the displacement of the source compared to him.

    Par exemple, une expérience a pu montrer qu'un auditeur perçoit la voix d'une personne qui se rapproche de lui, comme s'il s'agissait du rapprochement de la personne elle-même. Si la prise de sons se termine en ayant placé le micro au plus proche niveau possible des lèvres de la personne, et en demandant à cette personne de baisser sa voix jusqu'au plus doux murmure, l'auditeur a l'impression que la personne est réellement près de lui et lui parle dans le creux de l'oreille.For example, experience has shown that a listener perceives a person's voice which is getting closer to him, as if it were a move closer to the person himself. If the recording ends with having placed the microphone at the closest level possible from the person's lips, and asking that person to lower their voice until the softest whisper, the listener has the impression that the person is really close to him and speaks to him in the hollow of the ear.

    Tout cela est étranger à la stéréophonie.All this is foreign to stereophony.

    Sur les figures 13 à 15, l'auditeur commence par entendre des sons à droite, puis il entend les sons se déplacer vers la gauche jusqu'à ne plus être audibles, pratiquement que par la gauche, mais, ici, en se déplaçant derrière sa tête puisque le prise de sons selon les figures 7 à 9 présente à la source A la face arrière du plan virtuel transversal.In figures 13 to 15, the listener begins by hearing sounds on the right, then he hear sounds move to the left until they are no longer audible, practically only from the left, but, here, moving behind his head since taking sounds according to Figures 7 to 9 present at source A the rear face of the transverse virtual plane.

    L'expérience rappelée ci-dessus est encore plus impressionnante ici car la voix se rapprochant par le dos de l'auditeur, certaines personnes sensibles se retournent brusquement, croyant vraiment à la présence d'une personne.The experience recalled above is even more impressive here because the voice is drawing closer by the listener's back, some sensitive people turn around suddenly, really believing in the presence of a person.

    Sur la figure 16, on a représenté un exemple de prise de sons au moyen d'un ensemble 50, qui est manipulé autour de la tête d'un chien qui halète, l'auditeur écoutant ensuite cette prise de sons, ayant l'impression que le chien tourne sur lui-même et, selon les mouvements de l'ensemble 50, s'éloigne et se rapproche.In Figure 16, there is shown an example of sound recording by means of a set 50, which is manipulated around the head of a panting dog, the listener then listening this taking of sounds, having the impression that the dog turns on itself and, according to movements of the assembly 50, moves away and approaches.

    Lorsque la source sonore est un instrument de musique, il est possible de donner à l'enregistrement des effets tout à fait nouveaux, notamment en faisant tourner l'ensemble 50 autour d'un piano, ce qui donne un enregistrement dont la reproduction a une intensité variable et donne l'impression de déplacements insoupçonnables du piano, car irréels, par exemple un vol du piano au-dessus de l'auditeur.When the sound source is a musical instrument, it is possible to give recording completely new effects, especially by rotating the whole 50 around a piano, which gives a recording whose reproduction has variable intensity and gives the impression of unsuspected movements of the piano, because unreal, for example a flight of the piano over the listener.

    On peut aussi utiliser comme source sonore un enregistrement diffusé par un haut parleur, une bande son par exemple, que l'on peut mixer avec d'autres enregistrements particuliers.You can also use a sound from a loudspeaker as a sound source. speaker, a soundtrack for example, which can be mixed with other recordings individuals.

    Une bande magnétique diffusée par une enceinte acoustique peut être réenregistrée puis replacée dans un espace sonique différent, artificiel.A magnetic tape broadcast by an acoustic enclosure can be re-recorded then placed in a different, artificial sonic space.

    Après avoir enregistré des instruments un par un selon le procédé de l'invention, on effectue un mixage permettant de créer une véritable " sculpture " de la bande son puisque l'on obtient des effets de reliefs, nés d'éloignements, de rapprochements et de pivotements par rapport à l'instrument qui, lui, reste fixe.After recording instruments one by one according to the method of the invention, we mixes to create a real "sculpture" of the soundtrack since we obtain relief effects, born from remoteness, closeness and pivoting relative to the instrument which itself remains fixed.

    Le déplacement de l'ensemble tout entier et des micros qu'il porte permet de faire varier de manière différentielle la distance, dans toutes les directions de l'espace, de chaque micro par rapport à la source et de présenter à cette source, l'une des deux faces du plan virtuel transversal.The displacement of the whole assembly and the microphones it carries allows to vary differentially the distance, in all directions of space, of each micro in relation to the source and to present to this source, one of the two faces of the plane transversal virtual.

    Bien entendu, le procédé de l'invention est utilisable avec plusieurs sources sonores et non plus une seulement et quand on enregistre, par exemple, un orchestre symphonique ou une grande formation de jazz, il est possible de faire des effets équivalents à ceux du zoom en optique, à savoir que sans modifier en rien l'exécution musicale, on peut privilégier tel ou tel instrument ou bien une partie de l'orchestre par rapport à une autre.Of course, the method of the invention can be used with several sound sources and no longer just one and when we record, for example, a symphony orchestra or a large jazz band, it is possible to make effects equivalent to those of zoom in optics, namely that without modifying the musical performance in any way, we can favor this or that instrument or one part of the orchestra over another.

    Après avoir effectué des enregistrements particuliers, on les rassemble librement, comme l'usager le souhaite, sur deux pistes d'enregistrement, afin de grouper les enregistrements droits et gauche qui seront affectés, lors de l'écoute, soit à l'écouteur de droite, soit à l'écouteur de gauche.After having made particular recordings, we collect them freely, as the user wishes, on two recording tracks, in order to group the right and left recordings which will be assigned, when listening, either to the listener right, or to the left earpiece.

    En se reportant maintenant à la figure 17, on voit une application particulière de l'invention que l'on illustre par un exemple prévoyant tout d'abord une prise de sons en studio 60, comprenant un micro 61 de tout type connu et que l'on a choisi ici comme étant de type monophonique. Le micro 61 est raccordé par un câble conducteur 62 à un appareil d'enregistrement 63 qui est, ici, symbolisé par un enregistreur de cassettes.Referring now to FIG. 17, we see a particular application of the invention which is illustrated by an example first of all providing sound recording studio 60, including a microphone 61 of any known type and which we have chosen here as being of monophonic type. The microphone 61 is connected by a conducting cable 62 to a recording device 63 which is here symbolized by a cassette recorder.

    La cassette enregistrée 64 contient donc un enregistrement dit " initial " que l'on peut qualifier de " plat " car la prise de sons dans le studio 60 s'est faite dans le silence. L'enregistrement ne concerne donc que des paroles prononcées devant le micro 61 ou que de la musique isolée de toute ambiance.The recorded cassette 64 therefore contains a so-called "initial" recording which can be qualify as "flat" because the sound recording in studio 60 was done in silence. The recording therefore only concerns words spoken in front of the microphone 61 or that music isolated from any atmosphere.

    La cassette 64 est placée dans un appareil de lecture 65, comme l'évoque la flèche F4, raccordé à deux enceintes 66 et 67, le tout étant situé dans un endroit 70 distinct du studio d'enregistrement 60.The cassette 64 is placed in a reading device 65, as evoked by the arrow F4, connected to two speakers 66 and 67, the whole being located in a location 70 separate from the recording studio 60.

    Conformément à l'invention, on capte puis l'on enregistre les sons diffusés par les enceintes 66 et 67, contrairement à tous les principes universellement admis qui partent du constat que la qualité des sons recueillis est dégradée par les caractéristiques du lecteur, ses vibrations et ses imperfections, sans compter les défauts du support d'enregistrement ni les bruits parasites existant dans l'endroit où l'on procède à cet enregistrement.In accordance with the invention, the sounds broadcast by the signals are captured and then recorded. pregnant 66 and 67, contrary to all universally accepted principles that leave of the observation that the quality of the sounds collected is degraded by the characteristics of the reader, its vibrations and its imperfections, without counting the defects of the support recording or any extraneous noise existing in the place where this is done recording.

    Mais ici on utilise l'ensemble 50 décrit ci-dessus, dans l'endroit 70 qui est naturel ou artificiel, éventuellement avec un bruitage sonore, de sorte que cette prise de sons permet à l'opérateur non seulement de déplacer l'ensemble 50, comme cela est symbolisé par une longue flèche sinueuse F5, mais également d'ajouter aux sons de l'enregistrement initial ceux qui existent dans l'endroit de la prise de sons, c'est-à-dire non seulement les bruits naturels d'ambiance ou les bruits ajoutés, mais également les sons dus aux conditions mêmes de l'endroit 70, en particulier les sons captés après réverbération sur les obstacles proches : murs, plafond, objets divers, etc.But here we use the assembly 50 described above, in the place 70 which is natural or artificial, possibly with sound effects, so that taking sounds allows the operator not only to move the set 50, as is symbolized by a long winding arrow F5, but also to add to the sounds of the initial recording those which exist in the place of the sound recording, that is to say not only natural ambient noises or added noises, but also sounds due to the very conditions of the place 70, in particular the sounds received after reverberation on nearby obstacles: walls, ceiling, various objects, etc.

    Si par exemple, on effectue dans le studio 60 un enregistrement initial d'un orchestre symphonique, on obtient des sons aussi purs que cela est possible mais comme désincarnés, froids, plats, si l'on pense aux conditions d'écoute dans une salle de concert réelle, en direct.If, for example, an initial recording of an orchestra is made in studio 60 symphonic, we get sounds as pure as possible but as disembodied, cold, flat, if you think about the listening conditions in a concert hall real, live.

    L'invention permet, à partir de cet enregistrement initial, d'obtenir un enregistrement stéréophonique dit " spécifique " au moyen d'un ensemble 50, dans une grande salle, telle qu'une salle de concert ou de spectacle, si bien que l'enregistrement spécifique ajoute à l'orchestre l'ambiance et les réverbérations de la salle, le tout étant enrichi par les conditions de prise de sons propres à l'invention.The invention makes it possible, from this initial recording, to obtain a recording so-called "specific" stereophonic by means of a set 50, in a large room, such as a concert or performance hall, so that the specific recording adds to the orchestra the atmosphere and the reverberations of the room, the whole being enriched by the conditions for taking sounds specific to the invention.

    L'ensemble 50 est relié par un conducteur 71 à une appareil d'enregistrement stéréophonique 73 par lequel on obtient un enregistrement spécifique sur un support que l'on a schématisé ici par une cassette 74.The assembly 50 is connected by a conductor 71 to a recording device stereophonic 73 by which one obtains a specific recording on a support that we have schematized here by a cassette 74.

    Ensuite, dans un local 75 qui peut être un studio, on place le support d'enregistrement initial 64 dans un lecteur 76 (flèche F6) et le support d'enregistrement spécifique 74 dans un lecteur 77 (flèche F7), reliés tous deux à un appareil enregistreur 78 par des conducteurs 79 et 80.Then, in a room 75 which can be a studio, we place the recording medium initial 64 in a reader 76 (arrow F6) and the specific recording medium 74 in a reader 77 (arrow F7), both connected to a recording device 78 by conductors 79 and 80.

    On synchronise les deux lecteurs 76 et 77 pour obtenir une superposition de l'enregistrement initial et de l'enregistrement spécifique, cette combinaison donnant naissance à l'enregistrement dit "définitif", placé sur un support d'enregistrement symbolisé par une cassette 81.We synchronize the two readers 76 and 77 to obtain a superposition of the initial registration and the specific registration, this combination giving birth of the so-called "final" recording, placed on a recording medium symbolized by a cassette 81.

    Ce dispositif d'enregistrement peut bien évidemment être optimisé par des moyens spécifiques tels que des appareils d'enregistrement multipistes, des logiciels utilisant la technologie dite " D t D ", abréviation de " Direct to Disk ", etc.This recording device can obviously be optimized by means specific devices such as multitrack recording devices, software using the so-called "D t D" technology, abbreviation of "Direct to Disk", etc.

    Ce support d'enregistrement constitue, après les traitements spécifiques de mastérisation, le master à partir duquel on peut effectuer autant de copies qu'il est nécessaire, copies destinées à la diffusion commerciale.This recording medium constitutes, after the specific processing of mastering, the master from which one can make as many copies as there is required, copies for commercial distribution.

    Naturellement, les cassettes que l'on a représentées sur la figure 17 peuvent, dans la réalité, être des supports d'enregistrement de toutes sortes, notamment des bandes son de films cinématographiques ou de vidéo cassettes.Naturally, the cassettes which have been represented in FIG. 17 can, in the reality, being recording media of all kinds, including soundtracks motion picture films or video cassettes.

    Ces supports d'enregistrement sont destinés à des appareils de lecture eux-mêmes de tout type connu, associés à des transducteurs tels que des écouteurs ou des enceintes. Lorsqu'il s'agit de salles de spectacle, des enceintes disposées comme on l'a expliqué plus haut : près de l'écran, sur les côtés et à l'arrière de la salle constituent un ensemble de diffusion ayant des performances inconnues à ce jour, notamment par le fait que la prise de sons conforme à l'invention permet des restituer à l'écoute un " glissé sonore " supprimant totalement l'effet de trou sonore, de sorte qu'il est dorénavant possible de faire circuler des sons d'enceinte en enceinte sans aucune discontinuité et, par conséquent, l'utilisation d'enceintes multiples n'est plus réservée à la reproduction de sons rapides, fulgurants, mais aussi à des sons plus lents, tels que les pas d'un personnage qui s'approche ou qui s'éloigne.These recording media are intended for reading devices themselves any known type, associated with transducers such as headphones or speakers. When it comes to performance halls, enclosures arranged as explained higher: near the screen, on the sides and at the back of the room constitute a whole with performances unknown to date, in particular by the fact that the sound recording according to the invention makes it possible to restore a "sliding sound" when listening completely eliminating the sound hole effect, so it is now possible to circulate sounds from speaker to speaker without any discontinuity and, by Consequently, the use of multiple speakers is no longer reserved for the reproduction of fast, dazzling sounds, but also to slower sounds, such as the steps of a character approaching or moving away.

    Quant aux enregistrements musicaux, on a compris que l'on pouvait maintenant proposer des enregistrements en studio, de qualité parfaite et donnant la sensation qu'ils ont été effectués dans une vaste salle de concert.As for the musical recordings, we understood that we could now offer studio recordings, of perfect quality and giving the feeling that they were performed in a large concert hall.

    En somme, l'auditeur à son domicile écoute un orchestre comme s'il était seul dans la salle de concert, avec l'entière sensation d'espace et de réalisme, mais sans les inconvénients d'un public nombreux : toux répétées, applaudissements mal venus, etc. Lors de l'enregistrement définitif, on ajuste les niveaux sonores des lecteurs 76 et 77 afin que le niveau sonore de l'enregistrement initial soit à un niveau que l'on considère comme un niveau de référence, alors que le niveau sonore de l'enregistrement spécifique peut évoluer de part et d'autre du niveau de référence. Pour fixer les idées, si l'on considère comme zéro le niveau de référence, le niveau sonore de l'enregistrement spécifique s'étend de - 5 à + 5, en fonction de l'effet spécifique de spatialisation que l'on souhaite obtenir.In short, the listener at his home listens to an orchestra as if he were alone in the concert hall, with the whole feeling of space and realism, but without the disadvantages of a large audience: repeated coughing, unwanted applause, etc. During the final recording, the sound levels of players 76 and 77 are adjusted so that the sound level of the initial recording is at a level that we consider as a reference level, while the sound level of the recording specific can evolve on either side of the reference level. To fix ideas, if we consider as zero the reference level, the sound level of the recording specific ranges from - 5 to + 5, depending on the specific spatialization effect that we wish to obtain.

    Claims (15)

    1. Process for processing sounds emanating from at least one sound source and for reproduction of processed sounds by means of a sound collection unit and a diffusion unit,
      the sound collection unit being composed of at least two microphones the relative positioning of which is constant,
      the diffusion unit comprising at least two diffusion elements,
      characterised by the fact that
      the at least one sound source is a recording already made called the original recording, this original recording having to be diffused by the diffusion elements in a place, and a sound resulting from this diffusion corresponding to a sound of the original recording,
      a specific sound signal is produced which corresponds to the diffused original recording influenced by the acoustic and phonic characteristics in the said place,
      final diffusion is effected by superimposition of the sound of the original recording and of the specific sound signal.
    2. Process as described in claim 1, characterised by the fact that to produce a specific sound signal:
      a specific recording is made with the at least two microphones,
      the at least two microphones are displaced together relative to the diffusion elements diffusing the at least one sound source,
      microphones are used the relative positioning of which is constant.
    3. Process as described in one of claims 1 to 2, characterised by the fact that to effect the final diffusion:
      the sound of the original recording is adjusted to a constant sound level called the reference level and
      the sound level of the sound of the specific recording is varied within a range which extends continuously between a minimum value and a maximum value situated on either side of the reference level.
    4. Process as described in one of claims 1 to 3,
      characterised by the fact that
      a plurality of different specific recordings is made of the sound of the original recording, describing different trajectories with the microphones from one specific recording to the other.
    5. Process as described in one of claims 1 to 4,
      characterised by the fact that
      a recording is made specific to one or a small number of sound sources, from a larger number, to make a plurality of particular recordings, and then
      these particular recordings are assembled on two tracks, one of which comprises an assembly of certain specific recordings and the other an assembly of other recordings.
    6. Device comprising a sound collection unit and a diffusion unit,
      the sound collection unit being composed of at least two opposed and rigidly joined microphones at a spacing close to that of the ears of a normal human being, and by a sound insulation screen intercalated between them,
      the diffusion unit comprising in particular at least two diffusion elements,
      characterised by the fact that
      the sound collection unit is rigidly attached to a manoeuvring handle (15) and has no other fixing or immobilising means,
      the sound collection unit is moveable.
    7. Device as described in claim 6, characterised by the fact that the manoeuvring handle includes an asymmetry forming a reference.
    8. Device as described in one of claims 6 to 7, characterised by the fact that a first sound insulation element which separates the two microphones is substantially flat.
    9. Device as described in claim 6, characterised by the fact that it comprises a second sound insulation element perpendicular to the first which extends from one of the microphones to the other in order to determine a front sound space and a rear sound space.
    10. Device as described in claim 9, characterised by the fact that the second sound element is formed of a substantially spherical volume of external dimensions close to the norms of a head of a human being, this volume simultaneously forming a screen for separation of the two microphones positioned in opposition on the said volume.
    11. Device as described in claim 10, characterised by the fact that at least one of the diffusion elements (A - 66 and 67) is an apparatus for radiating acoustic energy in the surrounding space.
    12. Device as described in claim 6, characterised by the fact that the diffusion unit comprises a reader of sound recordings and two apparatus (66 and 67) for radiating acoustic energy in the surrounding space, spaced apart one from the other and corresponding to a right channel and to a left channel.
    13. Device as described in claim 6, characterised by the fact that the diffusion unit is arranged in a room containing a screen for the presentation of images, and this unit comprises a reader of audiovisual recordings and a plurality of apparatus for radiating acoustic energy in the surrounding space, positioned on the one hand in the proximity of the screen and on the other laterally of the screen to reproduce the right channel and the left channel.
    14. Device as described in claim 6, characterised by the fact that the diffusion unit is arranged in a theatre containing a screen for presentation of images, and this assembly comprises a reader of audiovisual recordings and a plurality of apparatus for radiating acoustic energy in the surrounding space, positioned on the one hand in the proximity of the screen and on the other opposite the said screen, at the back of the said theatre, behind the seats intended for spectators.
    15. Device as described in claim 6, characterised by the fact that the diffusion unit comprises a reader of sound recordings and headphones (40) provided with two earphones (41 and 42).
    EP99402996A 1998-12-31 1999-12-01 Method and device for sound recording and reproduction with natural feeling of sound space Expired - Lifetime EP1017249B1 (en)

    Applications Claiming Priority (2)

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    FR9816738 1998-12-31
    FR9816738 1998-12-31

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    EP1017249A1 EP1017249A1 (en) 2000-07-05
    EP1017249B1 true EP1017249B1 (en) 2004-07-21

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    US (1) US6782104B1 (en)
    EP (1) EP1017249B1 (en)
    JP (1) JP2000209692A (en)
    AT (1) ATE271748T1 (en)
    DE (1) DE69918793T2 (en)

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    FR2852779B1 (en) 2003-03-20 2008-08-01 PROCESS FOR PROCESSING AN ELECTRICAL SIGNAL OF SOUND
    US8634572B2 (en) 2005-01-13 2014-01-21 Louis Fisher Davis, Jr. Method and apparatus for ambient sound therapy user interface and control system
    US20060222187A1 (en) * 2005-04-01 2006-10-05 Scott Jarrett Microphone and sound image processing system
    EP3255903B1 (en) 2009-08-03 2022-12-07 IMAX Corporation Systems and method for monitoring cinema loudspeakers and compensating for quality problems
    US10194239B2 (en) * 2012-11-06 2019-01-29 Nokia Technologies Oy Multi-resolution audio signals
    WO2014204049A1 (en) * 2013-06-21 2014-12-24 (주)에스엠인스트루먼트 Mobile acoustic source tracking sensor and manufacturing method
    US9602946B2 (en) 2014-12-19 2017-03-21 Nokia Technologies Oy Method and apparatus for providing virtual audio reproduction
    US11608055B2 (en) 2020-06-04 2023-03-21 Nxp Usa, Inc. Enhanced autonomous systems with sound sensor arrays

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    DE1239355B (en) * 1964-10-23 1967-04-27 Heinrich Peiker Microphone arrangement with at least two support arms
    GB1487847A (en) * 1974-09-25 1977-10-05 Ard Anstalt Microphone units
    AT353102B (en) * 1977-12-07 1979-10-25 Eumig PROCEDURE FOR SIGNAL PROCESSING AND SETUP
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    US5793873A (en) * 1996-07-07 1998-08-11 Visual Sound Limited Partnership Sound capturing method and device

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    DE69918793T2 (en) 2005-07-21
    JP2000209692A (en) 2000-07-28
    EP1017249A1 (en) 2000-07-05
    ATE271748T1 (en) 2004-08-15
    DE69918793D1 (en) 2004-08-26
    US6782104B1 (en) 2004-08-24

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