EP1723825B1 - Dispositif et procede pour reguler un dispositif de rendu de synthese de champ electromagnetique - Google Patents

Dispositif et procede pour reguler un dispositif de rendu de synthese de champ electromagnetique Download PDF

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Publication number
EP1723825B1
EP1723825B1 EP06706963A EP06706963A EP1723825B1 EP 1723825 B1 EP1723825 B1 EP 1723825B1 EP 06706963 A EP06706963 A EP 06706963A EP 06706963 A EP06706963 A EP 06706963A EP 1723825 B1 EP1723825 B1 EP 1723825B1
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European Patent Office
Prior art keywords
wave field
audio object
field synthesis
audio
virtual source
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German (de)
English (en)
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EP1723825A1 (fr
Inventor
Katrin Reichelt
Gabriel Gatzsche
Thomas Heinrich
Kai-Uwe Sattler
Sandra Brix
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Fraunhofer Gesellschaft zur Forderung der Angewandten Forschung eV
Technische Universitaet Ilmenau
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Fraunhofer Gesellschaft zur Forderung der Angewandten Forschung eV
Technische Universitaet Ilmenau
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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
    • H04R1/403—Arrangements for obtaining desired frequency or directional characteristics for obtaining desired directional characteristic only by combining a number of identical transducers loud-speakers
    • H—ELECTRICITY
    • H04—ELECTRIC COMMUNICATION TECHNIQUE
    • H04R—LOUDSPEAKERS, MICROPHONES, GRAMOPHONE PICK-UPS OR LIKE ACOUSTIC ELECTROMECHANICAL TRANSDUCERS; DEAF-AID SETS; PUBLIC ADDRESS SYSTEMS
    • H04R3/00—Circuits for transducers, loudspeakers or microphones
    • H04R3/12—Circuits for transducers, loudspeakers or microphones for distributing signals to two or more loudspeakers
    • H—ELECTRICITY
    • H04—ELECTRIC COMMUNICATION TECHNIQUE
    • H04S—STEREOPHONIC SYSTEMS 
    • H04S7/00—Indicating arrangements; Control arrangements, e.g. balance control
    • H04S7/30—Control circuits for electronic adaptation of the sound field
    • H—ELECTRICITY
    • H04—ELECTRIC COMMUNICATION TECHNIQUE
    • H04S—STEREOPHONIC SYSTEMS 
    • H04S2420/00—Techniques used stereophonic systems covered by H04S but not provided for in its groups
    • H04S2420/13—Application of wave-field synthesis in stereophonic audio systems
    • H—ELECTRICITY
    • H04—ELECTRIC COMMUNICATION TECHNIQUE
    • H04S—STEREOPHONIC SYSTEMS 
    • H04S3/00—Systems employing more than two channels, e.g. quadraphonic
    • H04S3/002—Non-adaptive circuits, e.g. manually adjustable or static, for enhancing the sound image or the spatial distribution

Definitions

  • the present invention relates to the field of wave field synthesis, and more particularly to driving a wave field synthesis rendering device with data to be processed.
  • the present invention relates to wave-field synthesis concepts, and more particularly to efficient wave-field synthesis concept in conjunction with a multi-renderer system. Audio playback systems based on wave field synthesis and provided with means for providing scene description are out WO 2004/047485 known.
  • WFS wave field synthesis
  • Applied to the acoustics can be simulated by a large number of speakers, which are arranged side by side (a so-called speaker array), any shape of an incoming wavefront.
  • a so-called speaker array any shape of an incoming wavefront.
  • the audio signals of each speaker must be fed with a time delay and amplitude scaling so that the radiated sound fields of each speaker properly overlap.
  • the contribution to each speaker is calculated separately for each source and the resulting signals added together.
  • the cost of the calculation therefore depends heavily on the number of sound sources, the reflection characteristics of the recording room and the number of speakers.
  • the advantage of this technique is in particular that a natural spatial sound impression over a large area of the playback room is possible.
  • the direction and distance of sound sources are reproduced very accurately.
  • virtual sound sources can even be positioned between the real speaker array and the listener.
  • wavefield synthesis works well for environments whose characteristics are known, irregularities occur when the texture changes, or when wave field synthesis is performed based on environmental conditions that do not match the actual nature of the environment.
  • An environmental condition can be described by the impulse response of the environment.
  • wave field synthesis provides the ability to eliminate the reflection from that wall by giving the loudspeaker a signal in phase opposition to the reflection signal is impressed with appropriate amplitude in addition to the original audio signal, so that the outgoing compensation wave extinguishes the reflection wave, such that the reflection from this wall in the environment; which is considered eliminated.
  • This can be done by first computing the impulse response of the environment and determining the nature and position of the wall based on the impulse response of that environment, the wall being interpreted as a source of mirrors, that is, a sound source reflecting an incident sound.
  • Wavefield synthesis (WFS or sound field synthesis), as developed at the TU Delft in the late 1980s, represents a holographic approach to sound reproduction. The basis for this is the Kirchhoff-Helmholtz integral. This states that any sound fields within a closed volume can be generated by means of a distribution of monopole and dipole sound sources (loudspeaker arrays) on the surface of this volume.
  • a synthesis signal for each loudspeaker of the loudspeaker array is calculated from an audio signal which emits a virtual source at a virtual position, the synthesis signals being designed in amplitude and phase such that a wave resulting from the superposition of the individual the sound wave present in the loudspeaker array will correspond to the wave that would result from the virtual source at the virtual position if that virtual source at the virtual position were a real source with a real position.
  • multiple virtual sources exist at different virtual locations.
  • the computation of the synthesis signals is performed for each virtual source at each virtual location, typically resulting in one virtual source in multiple speaker synthesis signals. Seen from a loudspeaker, this loudspeaker thus receives several synthesis signals, which go back to different virtual sources. A superimposition of these sources, which is possible due to the linear superposition principle, then gives the reproduced signal actually emitted by the speaker.
  • wave field synthesis unit must accomplish, since typically channel information must be considered. This means in more detail that from each virtual source to each speaker in principle a separate transmission channel is present, and that in principle there may be the case that each virtual source leads to a synthesis signal for each speaker, or that each speaker a number of synthesis signals which equals the number of virtual sources.
  • the final-rendered and analog-to-digital converted reproduction signals for the individual loudspeakers could be transmitted, for example via two-wire lines, from the wave field synthesis central unit to the individual loudspeakers.
  • the wave field synthesis central unit could always be made only for a special reproduction room or for a reproduction with a fixed number of loudspeakers.
  • the German patent DE 10254404 B4 discloses a system as shown in FIG.
  • One part is the central wave field synthesis module 10.
  • the other part is composed individual speaker modules 12a, 12b, 12c, 12d, 12e, which are connected to actual physical speakers 14a, 14b, 14c, 14d, 14e, as shown in Fig. 7.
  • the number of speakers 14a-14e in typical applications is in the range above 50 and typically even well above 100. If each loudspeaker is assigned its own loudspeaker module, the corresponding number of loudspeaker modules is also required. Depending on the application, however, it is preferred to address a small group of adjacent loudspeakers from a loudspeaker module.
  • a speaker module which is connected to four speakers, for example, feeds the four speakers with the same playback signal, or whether the four speakers corresponding different synthesis signals are calculated, so that such a speaker module actually off consists of several individual speaker modules, but which are physically combined in one unit.
  • each transmission path 16a-16e being coupled to the central wave field synthesis module and to a separate loudspeaker module.
  • a serial transmission format that provides a high data rate such as a so-called Firewire transmission format or a USB data format.
  • Data transfer rates in excess of 100 megabits per second are advantageous.
  • the data stream which is transmitted from the wave field synthesis module 10 to a loudspeaker module is thus formatted according to the selected data format in the wave field synthesis module and with synchronization information provided in common serial data formats.
  • This synchronization information is extracted from the individual loudspeaker modules from the data stream and used to resample the individual loudspeaker modules with regard to their reproduction, that is to say finally to the analog-to-digital conversion for obtaining the analog loudspeaker signal and the purpose of resampling. to synchronize.
  • the central wave-field synthesis module works as a master and all loudspeaker modules operate as clients, with the individual data streams across the different links 16a-16e all receiving the same synchronization information from the central module 10.
  • the rendering still determines the total capacity of the system. Is the central rendering unit therefore z.
  • the central rendering unit therefore z. For example, if it is able to render 32 virtual sources simultaneously, ie to compute the synthesis signals for these 32 virtual sources simultaneously, then serious capacity bottlenecks will occur if more than 32 sources are active at a time in an audio scene. This is sufficient for simple scenes. For more complex scenes, in particular with immersive sound impressions, ie when it rains and many raindrops are single sources, it is immediately obvious that the capacity with a maximum of 32 sources is no longer sufficient. A similar situation also occurs when you have a large orchestra and in fact want to process every orchestra player or at least each group of instruments as their own source in their own position. Here, 32 virtual sources can quickly become too little.
  • a scene description is used in which the individual audio objects are defined together such that, using the data in the scene description and the audio data for the individual virtual sources, the complete scene is rendered by a renderer or a multi-rendering Arrangement can be processed.
  • a renderer or a multi-rendering Arrangement For each audio object, it is exactly defined where the audio object has to start and where the audio object ends. Furthermore, for each audio object, exactly the position of the virtual source is indicated at which the virtual source should be, which is to be entered into the wave field synthesis rendering device, so that for each speaker the corresponding synthesis signals are generated.
  • each renderer has limited computing power.
  • a renderer is capable of processing 32 audio sources simultaneously.
  • a transmission path from the audio server to the renderer has a limited transmission bandwidth, so provides a maximum transmission rate in bits per second.
  • Another possibility is to take into account when creating the scene description no consideration of actual wave field synthesis conditions, but to create the scene description just as it wishes the scene author.
  • This possibility is advantageous in view of a higher flexibility and portability of scene descriptions under different wave field synthesis systems, as this creates scene descriptions which are not designed for a specific system but are more general.
  • the same scene description when run on a wave field synthesis system having the high capacity renderer, will result in a better sound impression than in a system having renderers with lower computational power.
  • the second possibility is advantageous in that a scene description does not result in a better sound impression due to the fact that it has been generated for a wave field synthesis system with a very limited capacity, even in a better capacity wave field synthesis system.
  • a disadvantage of the second possibility is that when the wave field synthesis system is brought to its maximum capacity, performance slumps or other associated problems will occur because the renderer because of its maximum capacity, if it should process more sources, processing the In addition, it can simply deny going sources.
  • the object of the present invention is to provide a flexible concept for controlling a wave-field synthesis rendering device, through quality degradations be reduced at least while maintaining a high level of flexibility.
  • the present invention is based on the recognition that actual capacity limits can be extended by intercepting processing load peaks occurring in wave field synthesis by varying the beginning and / or end of an audio object or the position of an audio object within a time span or span, perhaps only one short existing overload peak intercept. This is achieved by specifying margins in the scene description rather than fixed times for certain sources where the beginning and / or the end and even the position may be variable within a certain span, and then depending on a load situation in the wave field synthesis system, the actual start and actual virtual position of an audio object are varied within that time span.
  • overload situations are thereby reduced or even completely eliminated by moving audio objects forward or backward within their time span or in the case of multi-renderer systems with respect to their position, so that one of the Due to the changed position, renderer no longer needs to generate synthesis signals for this virtual source.
  • Audio objects that are particularly well suited for such a duration / Ortsspannen definition are sources that have noises to the content, so z. B. gossip noise, dripping or any other background noise, such as a wind noise or z. B. also a driving noise of a approaching from far away train.
  • a wind noise starts a few seconds earlier or later, or if the move enters the audio scene at a different virtual position than originally requested by the original author of the scene description.
  • the effects on the described very dynamically occurring overload situation can be eminent.
  • the scheduling or scheduling of audio sources within the scope of their spatial ranges and periods of time can lead to a very short overload situation being able to be converted into a correspondingly longer situation that can still be processed. This can of course by a z. For example, within a permitted period of time, it would be conditional earlier termination of an audio object that would not have existed for a long time anyway, but because of an audio object newly transferred to the renderer, would have led to an overload situation of this renderer that would have rejected the new audio object.
  • this problem is solved by z. B. the previous audio object, if a corresponding margin was specified, already ended a second earlier, or that the later audio object within a predetermined period z. B. is pushed back a second, so that the audio objects no longer overlap and thus no unpleasant rejection of the entire later audio object, which may have a length of minutes, is obtained.
  • an audio object comprises an audio file for a virtual source and at least one source position at which the virtual source is to be arranged inside or outside the playback room, ie with respect to the listener.
  • the apparatus according to the invention shown in FIG. 1 comprises a scene description providing means 1, the scene description defining a time sequence of audio data, wherein an audio object for a virtual source associated with the audio object defines a start time or an end time, the audio object for the virtual source has a period of time in which to start or end the audio object.
  • the scene description is such that the audio object has a location span in which a position of the virtual source must lie.
  • the device according to the invention further comprises a monitoring monitor 2, which is designed to monitor a utilization of the wave field synthesis system 0, so as to determine a utilization situation of the wave field synthesis system.
  • an audio object manipulation device 3 is provided, which is configured to vary an actual start point or end point of the audio object to be taken into account by the wave field synthesis rendering device within the time span or an actual position of the virtual source within the location span, depending on a load situation of the wave field synthesis system 0.
  • an audio file server 4 is further provided, which can be implemented together with the audio object manipulation device 3 in an intelligent database.
  • it is a simple file server which, depending on a control signal from the audio object manipulation device 3, feeds an audio file either directly via a data connection 5a to the wave field synthesis system and in particular to the wave field synthesis rendering device.
  • the audio file to the audio object manipulation device 3 via a data connection 5b, which then feeds a data stream via its control line 6a to the wave field synthesis system 0 and in particular to the individual renderer modules or the single renderer module the actual starting points and / or end points of the audio object determined by the manipulation device or comprises the corresponding position and the audio data itself includes.
  • the audio object manipulation device 3 is supplied with the scene description from the device 1, while the utilization situation of the wave field synthesis system 0 is supplied from the monitoring monitor 2 via a further input line 6c.
  • the individual lines described in FIG. 1 may not necessarily be implemented as separate cables etc., but merely to symbolize that corresponding data is transmitted in the system in order to implement the concept according to the invention
  • the monitoring monitor 2 is also a monitoring line 7 with the wave field synthesis system 0 connected depending on the situation z. For example, to check how many sources are being processed in a renderer module and whether the capacity limit has been reached, or to check what the current data rate is, just on line 6a or data line 5a or on another Lead within the wave field synthesis system prevails.
  • the utilization situation does not necessarily have to be the current utilization situation, but can also be a future utilization situation.
  • This implementation is preferred in that then the variability, such as the individual audio objects with each other in terms of avoiding overload peaks in the future can be scheduled or manipulated, for. B. by a current variation within a period of time only in some future avoid overload peak helps.
  • the efficiency of the concept according to the invention becomes ever greater the more sources exist which do not have fixed starting points or end points, but have starting points or end points which are provided with a time span or which have no fixed source positions but source positions which provide a spatial span are.
  • the audio object manipulation device 3 would position the position of this virtual source, the actual position of which is insignificant for the audio impression or for the audio scene, in such a way that it is processed by a different renderer than the front renderer. Renderer not burdened but only charged to another renderer, but anyway not at its capacity limit works.
  • an audio object should specify the audio file that effectively represents the audio content of a virtual source.
  • the audio object does not need to include the audio file, but may have an index pointing to a defined location in a database where the actual audio file is stored.
  • an audio object preferably comprises an identification of the virtual source, which may be, for example, a source number or a meaningful file name, etc.
  • the audio object specifies a period of time for the beginning and / or the end of the virtual source, that is, the audio file.
  • Specifying only a time period for the start means that the actual starting point of the rendering of this file by the renderer can be changed within the time span.
  • a time limit is specified for the end, this also means that the end can also be varied within the time span, which, depending on the implementation, will generally lead to a variation of the audio file also in terms of its length. Any implementations are possible, such. For example, a definition of the start / end time of an audio file so that although the starting point may be moved, but in no case the length may be changed, so that automatically the end of the audio file is also moved.
  • an audio object further comprises a location span for the position. So it will be irrelevant for certain audio objects, whether they z. B. come from the front left or front center, or if they are shifted by a (small) angle with respect to a reference point in the playback room.
  • audio objects, especially from the noise area which can be positioned at any position and thus have a maximum spatial range, for example, by a code for "arbitrary" or by no code (implicit) in the Audio object can be specified.
  • An audio object may include other information, such as an indication of the type of virtual source, that is, whether the virtual source must be a point source for sound waves, or whether it must be a source of plane waves, or whether must be a source that generates sources of arbitrary wavefront, provided the renderer modules are able to process such information.
  • FIG. 3 shows, by way of example, a schematic representation of a scene description in which the temporal sequence of different audio objects AO1,... AOn + 1 is shown.
  • attention is drawn to the audio object AO3, for which a period of time, as shown in FIG. 3, is defined.
  • a period of time as shown in FIG. 3
  • both the start point and the end point of the audio object AO3 in Fig. 3 can be shifted by the time period.
  • the definition of the audio object AO3, however, is that the length may not be changed, but this can be set variably from audio object to audio object.
  • a scene description is used that has relative indications.
  • the flexibility is increased by the fact that the beginning of the audio object AO2 is no longer given at an absolute time, but in a relative time to the audio object AO1.
  • a relative description of the location information is preferred, so not that an audio object is to be arranged at a certain position xy in the playback room, but z.
  • B. is a vector offset to another audio object or to a reference object.
  • the time span information or Ortsspanneninformation can be recorded very efficiently, namely simply in that the time period is set so that it expresses that the audio object AO3 z. B. in a period between two minutes and two minutes and 20 seconds after the start of the audio object AO1 can begin.
  • constraints such as. B. "Modeling Output Constraints in Multimedia Database Systems", T. Heimrich, 1st International Multimedia Modeling Conference, IEEE, January 2, 2005 to January 14, 2005, Melbourne. It shows the use of constraints in database systems to define consistent database states.
  • temporal constraints are described using Allen relationships and spatial constraints using spatial relationships. From this, favorable output constraints can be defined for synchronization purposes.
  • output constraints include a temporal or spatial condition between the objects, a response in case of a violation of a Constraints and a review time, so when such a constraint must be checked.
  • the spatial / temporal output objects of each scene are modeled relative to one another.
  • the audio object manipulation device achieves a translation of these relative and variable definitions into an absolute spatial and temporal order.
  • This ordering represents the output schedule obtained at the output 6a of the system shown in Figure 1 and defines how, in particular, the renderer module in the wave-field synthesis system is addressed.
  • the schedule is thus an output schedule that arranges the audio data according to the output conditions.
  • FIG. 4 shows a data stream which is transmitted from left to right according to FIG. 4, ie from the audio object manipulation device 3 of FIG. 1 to one or more wave field synthesis renderers of the wave field system 0 of FIG. 1.
  • the data stream comprises for each audio object in the embodiment shown in Fig. 4, first a header H, in which the position information and the time information stand, and an audio file for the special audio object, which in Fig. 4 shows AO1 for the first audio object, AO2 for the second Audio object etc. is designated.
  • a wave field synthesis renderer then receives the data stream and detects z. B. to an existing and agreed synchronization information that now comes a header. Based on another synchronization information, the renderer then recognizes that the header is now over. Alternatively, a fixed length in bits can also be agreed for each header.
  • the audio renderer After receiving the header, in the preferred embodiment of the present invention shown in FIG. 4, the audio renderer automatically knows that the subsequent audio file, ie, e.g. AO1 belongs to the audio object, that is, to the source location identified in the header.
  • FIG. 4 shows a serial data transmission to a wave field synthesis renderer.
  • the renderer requires an input buffer preceded by a data stream reader to parse the data stream.
  • the data stream reader will then interpret the header and store the associated audio data accordingly, so that when an audio object is to render, the renderer reads out the correct audio file and the correct source position from the input buffer.
  • Other data for the data stream are of course possible.
  • a separate transmission of both the time / location information and the actual audio data may be used.
  • the combined transfer illustrated in Figure 4 is preferred because it eliminates data consistency problems by concatenating the position / time information with the audio file, since it is always ensured that the audio data renderer also has the correct source position and not z. B. still renders audio from an earlier source, but already uses position information from the new source for rendering.
  • the present invention is thus based on an object-oriented approach, that is to say that the individual virtual sources are understood as objects which are distinguished by an audio file and a virtual position in space and possibly by the nature of the source, that is, if they are a point source for sound waves or a source of plane waves or a source of differently shaped sources.
  • the calculation of the wave fields is very computationally intensive and tied to the capacities of the hardware used, such as sound cards and computers, in conjunction with the efficiency of the calculation algorithms. Even the best-equipped PC-based solution thus quickly reaches its limits in the calculation of wave field synthesis, when many sophisticated sound events are to be displayed simultaneously. Thus, the capacity limit of the software and hardware used dictates the limitation on the number of virtual sources in the mixdown and playback.
  • FIG. 6 shows such a limited-capacity known wave-field synthesis concept including an authoring tool 60, a control renderer module 62, and an audio server 64, wherein the control renderer module is configured to include a speaker array 66 Supply data so that the speaker array 66 generates a desired wavefront 68 by superimposing the individual waves of the individual speakers 70.
  • the authoring tool 60 allows the user to create scenes, edit and control the wave field synthesis based system.
  • a scene consists of information about the individual virtual audio sources as well as the audio data.
  • the properties of the audio sources and the references to the audio data are stored in an XML scene file.
  • the audio data itself is stored on the audio server 64 and transmitted from there to the renderer module.
  • the renderer module receives the control data from the authoring tool so that the control renderer module 62, which is centrally executed, can generate the synthesis signals for the individual loudspeakers.
  • the concept shown in Figure 6 is described in "Authoring System for Wave Field Synthesis", F. Melchior, T. Röder, S. Brix, S. Wabnik and C. Riegel, AES Convention Paper, 115th AES Assembly, 10. October 2003, New York.
  • each renderer is supplied with the same audio data, regardless of whether the renderer needs this data for playback or not because of the limited number of speakers assigned to it. Since each of the current computers is capable of calculating 32 audio sources, this is the limit for the system. On the other hand, the number of renderable sources in the overall system should be significantly increased efficiently. This is one of the essential requirements for complex applications, such as movies, scenes with immersive atmospheres, such as rain or applause or other complex audio scenes.
  • a reduction of redundant data transfer operations and data processing operations in a wave field synthesis multi-renderer system is achieved, which leads to an increase in the computing capacity or the number of simultaneously computable audio sources.
  • the audio server is extended by the data output device, which is able to determine which renderer needs which audio and metadata.
  • the data output device possibly supported by the data manager, requires a plurality of information in a preferred embodiment. This information is initially the audio data, then the source and position data of the sources, and finally the configuration of the renderers, that is, information about the connected speakers and their positions and their capacity.
  • an output schedule is generated by the data output device with a temporal and spatial arrangement of the audio objects. From the spatial arrangement, the time schedule and the renderer configuration, the data management module then calculates which source for which renderers are relevant at any given time.
  • the database 22 is supplemented on the output side by the data output device 24, wherein the data output device is also referred to as a scheduler.
  • This scheduler then generates at its outputs 20a, 20b, 20c for the various renderers 50 the renderer input signals in order to power the corresponding loudspeakers of the loudspeaker arrays.
  • the scheduler 24 is still supported by a storage manager 52 in order to configure the database 42 by means of a RAID system and corresponding data organization specifications.
  • a data generator 54 On the input side is a data generator 54, which may be, for example, a sound engineer or an audio engineer who is to model or describe an audio scene in an object-oriented manner. In this case, he provides a scene description that includes corresponding output conditions 56, which are then optionally stored in the database 22 together with audio data after a transformation 58.
  • the audio data may be manipulated and updated using an insert / update tool 59.
  • the method according to the invention can be implemented in hardware or in software.
  • the implementation may be on a digital storage medium, particularly a floppy disk or CD, with electronically readable control signals that may interact with a programmable computer system to perform the method.
  • the invention thus also consists in a computer program product with a program code stored on a machine-readable carrier for carrying out the method when the computer program product runs on a computer.
  • the invention can be realized as a computer program with a program code for carrying out the method when the computer program runs on a computer.

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Claims (14)

  1. Dispositif pour réguler un dispositif de rendu de synthèse de champ d'onde disposé dans un système de synthèse de champ d'onde (0), le dispositif de rendu de synthèse de champ d'onde étant réalisé de manière à générer, à partir d'objets audio, à un objet audio étant associé un fichier audio pour une source virtuelle qui est disposée à une position de source, des signaux de synthèse pour une pluralité de haut-parleurs qui sont couplés au dispositif de rendu de synthèse de champ d'onde, aux caractéristiques suivantes:
    un moyen (1) pour fournir une description de scène, la description de scène fixant une succession dans le temps d'objets audio, un objet audio définissant, pour une source virtuelle associée à l'objet audio, un début dans le temps ou une fin dans le temps, l'objet audio présentant, pour la source virtuelle, un laps de temps dans lequel doit se situer le début ou la fin de l'objet audio, ou l'objet audio présentant une plage d'endroits dans laquelle doit se situer une position de la soruce virtuelle;
    un moniteur de surveillance (2) destiné à surveiller une situation de charge du système de synthèse de champ d'onde; et
    un moyen de manipulation d'objet audio (3) destiné à faire varier dans le laps de temps un point de début ou point de fin de l'objet audio ou dans la plage d'endroits une position effective de la source virtuelle à observer par le dispositif de rendu de synthèse de champ d'onde, en fonction d'une situation de charge du système de synthèse de champ d'onde (0).
  2. Dispositif selon la revendication 1, dans lequel le moniteur de surveillance (2) est réalisé de manière à surveiller une situation de charge d'une liaison de données entre le dispositif de manipulation d'objet audio (3) et le dispositif de rendu de synthèse de champ d'onde; et
    dans lequel le moyen de manipulation d'objet audio (3) est réalisé de manière à faire varier le point de début ou point de fin effectif de l'objet audio de sorte qu'une pointe de charge de la liaison de données soit réduite comparé à pas de variation.
  3. Dispositif selon la revendication 1 ou 2, dans lequel le moniteur de surveillance (2) est réalisé de manière à surveiller une situation de charge du dispositif de rendu de synthèse de champ, et
    dans lequel le moyen de manipulation d'objet audio (3) est réalisé de manière à faire varier le point de début ou point de fin effectif de sorte qu'un nombre maximal, prédéterminé par le dispositif de rendu de synthèse de champ d'onde, de sources à traiter simultanément à un moment donné ne soit pas excédé ou qu'un nombre d'objets audio à traiter simultanément par le dispositif de rendu de synthèse de champ d'onde soit réduit, comparé à pas de variation.
  4. Dispositif selon l'une des revendications précédentes, dans lequel le moniteur de surveillance (2) est réalisé de manière à prédire la situation de charge du système de synthèse de champ d'onde (0) sur une période de prédiction prédéterminée.
  5. Dispositif selon la revendication 4, dans lequel le dispositif de rendu de synthèse de champ d'onde (0) présente un tampon d'entrée, la période de prédiction prédéterminée étant fonction d'une grandeur du tampon d'entrée.
  6. Dispositif selon l'une des revendications précédentes, dans lequel le dispositif de rendu de synthèse de champ d'onde présente une pluralité de modules de dispositif de rendu auxquels sont associés des haut-parleurs disposés à différents endroits dans un local de reproduction, et
    dans lequel le moyen de manipulation d'objet audio (3) est réalisé de manière à faire varier une position effective de la source virtuelle dans la plage d'endroits de sorte qu'un module de dispositif de rendu ne soit pas actif pour générer les signaux de synthèse, bien que le module de dispositif de rendu eût été actif pour une autre position dans la plage d'endroits.
  7. Dispositif selon l'une des revendications précédentes, dans lequel le moyen de manipulation d'objet audio (3) est réalisé de manière à sélectionner, au cas où le moniteur de surveillance détecte une charge qui est un seuil prédéterminé au-dessous de la charge maximale, un moment actuel dans une première moitié du laps de temps.
  8. Dispositif selon la revendication 7, dans lequel le moyen de manipulation d'objet audio est réalisé de manière à sélectionner, au cas où le moniteur de surveillance (2) signal une charge qui se situe à un seuil prédéterminé au-dessous de la charge maximale, un moment le plus tôt défini par le laps de temps comme point de début ou point de fin.
  9. Dispositif selon l'une des revendications précédentes,
    dans lequel le moyen (1) destiné à fournir est réalisé de manière à fournir une description de scène dans laquelle est défini un positionnement dans le temps ou spatial des objets audio par rapport à un autre objet audio ou par rapport à un objet audio de référence, et
    dans lequel le moyen de manipulation d'objet audio (3) est réalisé de manière à calculer, pour chaque objet audio, un point de début absolu effectif ou une position absolue effective de la source virtuelle.
  10. Dispositif selon l'une des revendications précédentes,
    dans lequel le moyen (1) destiné à fournir est réalisé de manière à fournir une description de scène dans laquelle un laps de temps n'est indiqué que pour un groupe de sources, et dans laquelle un point de début fixé est indiqué pour les autres sources.
  11. Disposition selon la revendication 10, dans lequel le groupe de sources a une caractéristique prédéterminée comportant un fichier audio de type bruit de la source virtuelle.
  12. Disposition selon la revendication 10 ou 11, dans lequel le groupe de sources comprend des sources de bruit.
  13. Procédé pour réguler un dispositif de rendu de synthèse de champ d'onde disposé dans un système de synthèse de champ d'onde (0), le dispositif de rendu de synthèse de champ d'onde étant réalisé de manière à générer, à partir d'objets audio, à un objet audio étant associé un fichier audio pour une source virtuelle qui est disposée à une position de source, des signaux de synthèse pour une pluralité de haut-parleurs qui sont couplés au dispositif de rendu de synthèse de champ d'onde, aux étapes suivantes consistant à:
    fournir (1) une description de scène, la description de scène fixant une succession dans le temps d'objets audio, un objet audio définissant, pour une source virtuelle associée à l'objet audio, un début dans le temps ou une fin dans le temps, l'objet audio présentant, pour la source virtuelle, un laps de temps dans lequel doit se situer le début ou la fin de l'objet audio, ou l'objet audio présentant une plage d'endroits dans laquelle doit se situer une position de la soruce virtuelle;
    surveiller (2) une situation de charge du système de synthèse de champ d'onde; et
    faire varier (3) dans le laps de temps un point de début ou point de fin de l'objet audio ou dans la plage d'endroits une position effective de la source virtuelle à observer par le dispositif de rendu de synthèse de champ d'onde, en fonction d'une situation de charge du système de synthèse de champ d'onde (0).
  14. Programme d'ordinateur avec un code de programme pour réaliser le procédé selon la revendication 13 lorsque le programme d'ordinateur est exécuté sur un ordinateur.
EP06706963A 2005-02-23 2006-02-15 Dispositif et procede pour reguler un dispositif de rendu de synthese de champ electromagnetique Not-in-force EP1723825B1 (fr)

Applications Claiming Priority (2)

Application Number Priority Date Filing Date Title
DE102005008333A DE102005008333A1 (de) 2005-02-23 2005-02-23 Vorrichtung und Verfahren zum Steuern einer Wellenfeldsynthese-Rendering-Einrichtung
PCT/EP2006/001360 WO2006089667A1 (fr) 2005-02-23 2006-02-15 Dispositif et procede pour reguler un dispositif de rendu de synthese de champ electromagnetique

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EP1723825A1 EP1723825A1 (fr) 2006-11-22
EP1723825B1 true EP1723825B1 (fr) 2007-11-07

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US (1) US7668611B2 (fr)
EP (1) EP1723825B1 (fr)
JP (1) JP4547009B2 (fr)
CN (1) CN101129086B (fr)
AT (1) ATE377923T1 (fr)
DE (2) DE102005008333A1 (fr)
WO (1) WO2006089667A1 (fr)

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DE102005033239A1 (de) * 2005-07-15 2007-01-25 Fraunhofer-Gesellschaft zur Förderung der angewandten Forschung e.V. Vorrichtung und Verfahren zum Steuern einer Mehrzahl von Lautsprechern mittels einer graphischen Benutzerschnittstelle
EP2255359B1 (fr) * 2008-03-20 2015-07-15 Fraunhofer-Gesellschaft zur Förderung der angewandten Forschung e.V. Dispositif et procédé d'indication acoustique
EP2997573A4 (fr) * 2013-05-17 2017-01-18 Nokia Technologies OY Appareil audio orienté objet spatial
JP6022685B2 (ja) 2013-06-10 2016-11-09 株式会社ソシオネクスト オーディオ再生装置及びその方法
DE102014018858B3 (de) * 2014-12-15 2015-10-15 Alfred-Wegener-Institut Helmholtz-Zentrum für Polar- und Meeresforschung Hochdruckfeste Probenkammer für die Durchlicht-Mikroskopie und Verfahren zu deren Herstellung
JP6602406B2 (ja) 2015-06-30 2019-11-06 フラウンホーファー−ゲゼルシャフト・ツール・フェルデルング・デル・アンゲヴァンテン・フォルシュング・アインゲトラーゲネル・フェライン データベースを生成するための方法および装置
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DE502006000163D1 (de) 2007-12-20
WO2006089667A1 (fr) 2006-08-31
CN101129086B (zh) 2011-08-03
JP2008532372A (ja) 2008-08-14
DE102005008333A1 (de) 2006-08-31
JP4547009B2 (ja) 2010-09-22
ATE377923T1 (de) 2007-11-15
CN101129086A (zh) 2008-02-20
EP1723825A1 (fr) 2006-11-22
US20080008326A1 (en) 2008-01-10
US7668611B2 (en) 2010-02-23

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