EP3254389A1 - Appareil de réception et de lecture de signaux audio et système de sonorisation live - Google Patents
Appareil de réception et de lecture de signaux audio et système de sonorisation liveInfo
- Publication number
- EP3254389A1 EP3254389A1 EP16707869.0A EP16707869A EP3254389A1 EP 3254389 A1 EP3254389 A1 EP 3254389A1 EP 16707869 A EP16707869 A EP 16707869A EP 3254389 A1 EP3254389 A1 EP 3254389A1
- Authority
- EP
- European Patent Office
- Prior art keywords
- audio
- sound
- signal
- listener
- processor
- Prior art date
- Legal status (The legal status is an assumption and is not a legal conclusion. Google has not performed a legal analysis and makes no representation as to the accuracy of the status listed.)
- Ceased
Links
Classifications
-
- 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
- H04S3/004—For headphones
-
- H—ELECTRICITY
- H04—ELECTRIC COMMUNICATION TECHNIQUE
- H04H—BROADCAST COMMUNICATION
- H04H40/00—Arrangements specially adapted for receiving broadcast information
- H04H40/18—Arrangements characterised by circuits or components specially adapted for receiving
- H04H40/27—Arrangements characterised by circuits or components specially adapted for receiving specially adapted for broadcast systems covered by groups H04H20/53 - H04H20/95
- H04H40/36—Arrangements characterised by circuits or components specially adapted for receiving specially adapted for broadcast systems covered by groups H04H20/53 - H04H20/95 specially adapted for stereophonic broadcast receiving
-
- H—ELECTRICITY
- H04—ELECTRIC COMMUNICATION TECHNIQUE
- H04H—BROADCAST COMMUNICATION
- H04H60/00—Arrangements for broadcast applications with a direct linking to broadcast information or broadcast space-time; Broadcast-related systems
- H04H60/02—Arrangements for generating broadcast information; Arrangements for generating broadcast-related information with a direct linking to broadcast information or to broadcast space-time; Arrangements for simultaneous generation of broadcast information and broadcast-related information
- H04H60/04—Studio equipment; Interconnection of studios
-
- 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
- H04R1/10—Earpieces; Attachments therefor ; Earphones; Monophonic headphones
- H04R1/1083—Reduction of ambient noise
-
- H—ELECTRICITY
- H04—ELECTRIC COMMUNICATION TECHNIQUE
- H04W—WIRELESS COMMUNICATION NETWORKS
- H04W88/00—Devices specially adapted for wireless communication networks, e.g. terminals, base stations or access point devices
- H04W88/02—Terminal devices
Definitions
- the present invention generally relates to sound systems for improving the sound experience of a listener attending a show.
- the term "show” refers to any event that takes place in front of an audience (also referred to as an audience) and that includes one or more sound sources (such as voices, sounds, musical instruments).
- the show can be, for example, a concert, a play, a number (eg one-man show), a ballet, or a conference, a meeting, a meeting, a film, a television show or radio recorded live and in public.
- the show can be sounded, that is to say that the sounds of the show are broadcast (possibly amplified) to the attention of the public through a device (digital or analog) sound reproduction.
- the show may be live (or "live") and take place on a stage, which designates a place where sound sources (eg musicians) are gathered or distributed; the audience may be gathered or distributed in a room, which in the case of a live performance may be adjacent to (or distant from) the stage.
- the configuration of the room is arbitrary; it is not necessarily covered; the room can be located below the stage (or on the contrary overhanging).
- the room can be organized in tiers or on one level.
- the room can occupy the front of the stage (this is typically the case of a theater) or surround it (typically in a stadium).
- the term "room” may in fact refer to an undefined space, such as a lawn or esplanade.
- the quality of the sound perceived by a listener can be affected by several objective factors (beyond the auditor's control): the acoustics of the place (presence of parasitic reflections, echoes, resonance modes), the quality of the sound system. sound, the constraints on the sound engineers responsible for mixing, and the presence of spurious noises (eg generated by a noisy audience). Other subjective factors (related to the listener himself) may also affect the quality of the sound, including the listener's position in the room and his sensitivity to certain frequencies in the audio spectrum more than others.
- US patent application US2014 / 0328485 discloses an audio system configured to provide enhanced sound effects to a listener equipped with a mobile terminal and headphones.
- this system comprises a console coupled on the one hand to a plurality of microphones and, on the other hand, to a wireless access point.
- the console is programmed to transfer to the mobile terminal, via the wireless access point, audio signals received on different channels from multiple microphones.
- a central server is responsible, at the request of each user, to perform the custom mix required by this user.
- the centralized client / server architecture that is described (a custom mix of the different audio channels is provided in point-to-point mode at the request of each user) causes an overload of the central server, supposed to interact with each terminal (which forms control interface) and provide it with a mixed signal on demand.
- each terminal which forms control interface
- an alternative solution is briefly mentioned, which consists in processing the console signal directly at the terminal, but, as it is precisely indicated, this solution is likely to quickly exhaust the terminal battery.
- the document US2014 / 0328485 proposes, moreover, to avoid the superposition, in the listener's ears, of the console audio signal and the direct signal received from the sound system of the room, to introduce a delay in the return of the signal.
- audio from the console to synchronize it to the direct signal.
- a given loudspeaker sends a pulsation (outside the audible spectrum) into the room to allow, via a microphone equipping the terminal, to calculate the distance from it to the loudspeaker and to deduce a delay to apply to the console signal.
- a first objective is to improve for the listener the quality of the sound reproduction of a show, by avoiding, as much as possible, the factors likely to affect the quality of this restitution.
- a second objective is to allow an individualized personalization of the sound restored from the show.
- a device for receiving and reading audio signals intended to equip a listener and to be controlled by a mobile terminal incorporating a graphic interface, this mobile terminal being distinct from the apparatus, said apparatus comprising: a high frequency electromagnetic wave receiver configured to receive broadcast signals incorporating a plurality of audio tracks;
- a wireless communication interface separate from the receiver and configured to receive from the mobile terminal at least one setting parameter to be applied to at least one audio track of the received signal
- a digital signal processor configured to apply the setting parameter to the audio track and produce a mixed signal
- the apparatus further comprises an integrated microphone configured to receive a sound signal in the vicinity of the apparatus;
- the processor is configured to calculate a time offset between the signal mixed by the processor and the sound signal picked up by the microphone;
- the processor is configured to apply to the mixed signal a delay equal to the calculated time offset.
- This helmet may further include an acoustic noise reduction system.
- a transmitter connected to the mixer and configured to community broadcast multichannel audio tracks
- a mobile terminal configured to transmit to the reception apparatus, via its second communication interface, at least one setting parameter to be applied to at least one audio track;
- a headphone connected to the audio output of the device for the reproduction of the mixed signal.
- the show is live and includes sound sources
- the system includes microphones pointing to the sound sources to capture the sounds as an electrical signal forming an audio track for each microphone.
- the system comprises a mobile terminal configured to transmit to the reception apparatus, via its second communication interface, at least one adjustment parameter to be applied to at least one audio track.
- FIG. 1 is a diagrammatic view in FIG. perspective illustrating a sound system of a show, this sound system being equipped with a reception and reading apparatus;
- FIG.2 is a schematic view detailing the functional architecture of the system.
- FIG. 1 shows a sound system 1 of a show emitting sounds (voices and / or noises and / or music) for the benefit of a public (or audience) composed of one or more listeners 2.
- This show can be live or "live” and take place live.
- the show can be a concert, a play, a number (eg one-man show), a ballet, a conference, a meeting, a meeting, a film, a live television or radio broadcast, and in public.
- this place 3 which is not necessarily clearly delimited, is designated by the term "scene".
- scene 3 designates a stage on which are gathered the artists who perform the show.
- the show is given by musicians (of whom two singers have been represented) who form 4 sound sources.
- Scene 3 is schematized by a dotted rectangle that frames the musicians 4.
- the term "scene” may designate a screen on which the visual part of the show is projected.
- the listeners 2 can be gathered, or on the contrary disseminated, in front of or around the stage 3, or in front of screens retransmitting the show from a distance.
- the term "hall” usually means a place both covered and delimited.
- the room 5 is effectively covered and delimited, and extends in front of the stage 3.
- the room 5 is of any configuration; it may be an undefined space, not necessarily covered, such as a lawn or esplanade, eg. in the case of concerts given outdoors and / or in a stadium.
- each sound source 4 is dedicated a microphone 6.
- the microphones 6 are shown fixed, but at least some of them can be mobile.
- a microphone 6 can be portable, especially if its source 4 is mobile, e.g. the singer or the guitarist of a musical group. In this case, the microphone 6 can be held by hand by the protagonist, or hooked to him or his instrument (or even integrated with it, eg in the case of an electric guitar).
- the system 1 may comprise a primary audio splitter 7 which retrieves the audio track from each microphone 6 via a line 8 audio input - wired, as in the example shown, or radio frequency (RF) in the case of a wireless microphone.
- a primary audio splitter 7 which retrieves the audio track from each microphone 6 via a line 8 audio input - wired, as in the example shown, or radio frequency (RF) in the case of a wireless microphone.
- RF radio frequency
- the separator 7 comprises several inputs so that it can recover in parallel the signals generated by the different microphones 6.
- the sound capture is therefore multitrack (ie on different tracks), in real time.
- the sound system 1 may include a first mixing table 9 connected to the primary splitter 7 by a link 10 (wired or RF) by which the first table 9 receives different channels from the audio lines 8.
- This first mixing table 9 is connected, at the output, to a sound reproduction device 11, hereinafter more simply called sono, which comprises loudspeakers turned towards the listeners 2.
- the sound system 11 can be organized in a manner whatever, preferably according to the habits of sound engineers; it can thus comprise loudspeakers mounted in line (line array), arranged in a matrix, or grouped in front of the stage 3. For simplicity, the sound system 11 is represented in FIG. 1 by a single loudspeaker.
- the different channels from the primary separator 7 are mixed thanks to the first table 9 to form a first sound composition intended to be broadcast in free field to the public via the sound system 11.
- a sound engineer is responsible for mixing on the first table 9, to apply to the room 5 settings applied to the various tracks, including the sound volume, balance, equalization.
- the sound system 1 may comprise a second mixing table 12 connected to the primary separator 7 by a link 13 (wired or RF) by which the second table 12 also receives the channels coming from the lines 8 audio.
- the different channels from the primary separator 7 are mixed thanks to the second table 9 to form a second sound composition for the stage 3 (via return speakers, not shown).
- a sound engineer (the same as before or another) 5 is responsible for mixing on the second table 12, to apply to the scene 3 settings applied to the various tracks, among which the volume sound, balance, equalization.
- the sound system 1 further comprises a secondary separator 14 mounted in
- the audio tracks may be identical to those coming from the primary splitter, or different, depending on the settings (identical or different) applied to the splitter 7,
- the sound system 1 further comprises a third mixing table 15 connected to the secondary separator 14 by a link 16 (wired or RF) by which the third table 15 receives different channels from the audio lines 8.
- the system 1 is devoid of secondary separator 14, and the third table can be directly connected to one of the tables 9, 12, preferably the first table 9.
- the sound system 1 comprises at least one broadcasting transmitter 17 to which the third table 15 is connected and which is configured to collect the various channels coming from it and broadcast them over the air in multichannel mode by means of an antenna. 18, e.g. according to the IEEE 802.11 standard. We will take care to cover the entire room 5 in
- the transmitter 17 and the third table 15 form a single device.
- the broadcasting carried out by the transmitter 17 is community-based, that is to say that the broadcast is common for a set of recipients, which are not necessarily identified by the transmitter 17 and which can capture the broadcast as long as they are configured for this purpose and located within range of the transmitter 17.
- the broadcasting mode is multichannel, that is to say that the signal broadcast by the transmitter 17 comprises each audio track taken separately from the others.
- the audio tracks can be multiplexed within the broadcast signal.
- the transmitter 17, illustrated in FIG. 2 comprises: an analog-to-digital converter (ADC), multichannel, configured to collect, by differential analog inputs, the analog signals from the third mixing table and converting them into digital signals;
- ADC analog-to-digital converter
- DSP Digital Signal Processor
- the signals are transmitted by the ADC 19 to the DSP 20 via a data bus 21 of the I2S (Integrated Interchip Sound) standard, which has the advantage of minimizing fluctuation phenomena (or jitter, of the English jitter) in the signal ;
- the DSP 20 controls the ADC 19 via a synchronous serial data bus 22 or
- a modulator 23 which receives the processed audio stream of the DSP 20 via a bus
- I2S standard data for in-phase and quadrature modulation (I / Q modulation); a radio transmitter 25 which receives the modulated signal of the modulator 23 via an I / Q bus 26 looping the radio transmitter 25 to the modulator 23 and which is connected to the antenna 18 for broadcasting the channels (over the air).
- the modulator 23 controls the radio transmitter 25 via a synchronous serial data bus 27 or SPI (acronym for Serial Peripheral Interface), by means of which the radio transmitter 25 is controlled by modulator 23.
- the radio transmitter 25 is connected to the antenna 18 via an amplifier 28 which applies to the signal from the radio transmitter 25 a proportionality coefficient to increase the power (and therefore the range).
- the sound system 1 also comprises an apparatus 29 for receiving and reading the audio signals received from the transmitter 17.
- the apparatus 29 comprises a housing 30 and, in this housing 30: an antenna 31 and a receiver 32 of high frequency electromagnetic waves (HF), coupled to the antenna 31 and configured to receive the signals broadcast by the transmitter 17 (and integrating, as we have seen, several audio tracks );
- HF high frequency electromagnetic waves
- a demodulator 33 which receives the modulated signal from the receiver 32 via an I / Q bus 34 looping the receiver 32 and the demodulator 33 and which is programmed to demodulate this signal; according to a preferred embodiment illustrated in FIG. 2, the demodulator 33 controls the receiver 32 via a serial synchronous data bus or SPI (Serial Peripheral Interface), whereby the receiver 32 is slaved to the demodulator 33;
- SPI Serial Peripheral Interface
- a DSP 36 programmed to process in real time the digital signals delivered to it by the demodulator 33 by applying them in particular filters and settings which will be detailed below; the signals pass through a 37 I2S bus;
- a microphone 38 integrated in the housing 30 and connected to the DSP 36
- an audio output 39 integrated in the housing 30 and connected to the DSP 36 to allow the connection of a sound reproduction device such as a 40 audio headset, for the sound reproduction of the signals processed by DSP 36;
- a wireless communication interface 41 distinct from the receiver 32, e.g. ultra-high frequency (UHF) IEEE 802.15 standard (called “Bluetooth®”), connected to an antenna 42.
- UHF ultra-high frequency
- Bluetooth® IEEE 802.15 standard
- the signals received by the interface 41 transit to the DSP 36 by a bus 43 data I2S standard; at the same time, the DSP 36 controls the interface 41 by an asynchronous circuit 44 of the UART (Universal Asynchronous Receiver Transmitter) type;
- a port 45 for connecting the apparatus 29 to peripherals eg a programming computer, or to the mains for charging a built-in battery to the apparatus 29.
- Various other wireless communication protocols may be suitable for the interface 41: include the standard IEEE 802.11 (commonly known as WiFi) or its equivalent HiperLAN (Hlgh PERFORMANCE radio Local Area Network), the standard GPRS (General Packet Radio Service), the protocol IRDA (InfraRed Data Association) the WUSB (Wireless Universal Serial Bus).
- the sound system 1 also includes a mobile terminal 46 type Smartphone, tablet or laptop.
- the terminal 46 is configured to control the apparatus 29 and comprises: a processor 47;
- a primary wireless communication interface 48 connected to the processor 47 and to an antenna 49 and configured to communicate with a remote server 50 via a local area network 51 (LAN type: Local area network), metropolitan (type MAN: Metropolitan area network) or even extended (Wide Area Network (WAN) type such as the Internet, via standard protocols such as Universal Mobile Telecommunications System (UMTS) 3G or LTE 4G (Long Term Evolution); a wireless communication interface 52, e.g. ultra-high frequency (UHF) IEEE 802.15 standard (called "Bluetooth®”), connected to an antenna 52 and the processor 47;
- UHF ultra-high frequency
- a graphical interface 54 e.g. a touch screen.
- the other wireless communication protocols mentioned above may also be suitable for the implementation of the interface 52.
- the processor 47 integrates an application (which can be downloaded remotely via the processor 47 connecting for this purpose to the server 50) comprising instructions for making available to the listener 2, via the graphical interface 54, various settings for each track (such as a gain level and a level of panning) and to communicate, via the antennas 53, 42 and the interfaces 52, 41, the adjustments thus made to the processor 36 of the apparatus 29 so that they applies to the different tracks before returning them to the headset 40 via the jack 39.
- the listener 2 therefore has a device 29, which can be lent to him when he enters the room 5 and until the end the show, and a 46 terminal, which can be its own Smartphone.
- the wireless communication between the device 29 and the terminal 46 is of the point-to-point type, so as to guarantee the uniqueness of the adjustments made by the listener 2 and to prevent these settings from being unwantedly extended to Other apparatuses 29.
- the apparatus 29 and the terminal 46 are, prior to the establishment of a media session between them, paired by a conventional procedure in which the apparatus 29 and the terminal 46 exchange messages from each other. signaling containing their respective identifiers and URLs (uniform resource locator). It is conceivable to match a terminal 46 with several devices 29, which are then controlled by the same terminal 46 so that the same setting controlled from it is deployed on all devices 29.
- the media session between the terminal 46 and the device 29 does not necessarily include the exchange of audio tracks. Indeed, it is sufficient for the application programmed in the terminal 46 to make adjustments to the broadcast audio tracks, the auditory experience of the auditor 2 sufficient to know if these settings are suitable.
- the application programmed in the terminal 46 may also, for this purpose, be dedicated to the current show, and automatically integrate good audio tracks. Alternatively, the application is reusable for several shows, and includes a certain number of potentiometers, some of which can be activated or deactivated via a software update available for download by the listeners from the server 50, from the beginning and for the duration a spectacle.
- the setting proposed to the listener 2 for each track, via the graphical interface 54 of the terminal 46, may be in the form of a potentiometer emulation 55.
- the listener 2 can thus, by performing for each audio track settings of his choice (including the sound level of each track), improve its sound experience by proceeding to its own mixing from the raw audio data received from the transmitter 17 by the device 29.
- the various audio tracks are, at the level of the third mixing table, all preset at a medium level, allowing the listener 2 to have, at the beginning of the broadcast, an audio signal. equipped with a default mix (eg performed by a sound engineer) allowing a comfortable listening to which some auditors 2 little demanding can estimate not having to retouch.
- a default mix eg performed by a sound engineer
- the multitrack broadcast allows the listener 2 to act at his convenience on one or more audio tracks conveyed on dedicated tracks to finally get a custom mix.
- the listener 2 who locally has all the multitrack sound content (That is, the tracks are isolated from one another at the level of the apparatus 29), can, via the application which it has installed on its mobile terminal 46, modify at will the sound of the contents.
- the two signals are both real-time signals, from the same 4 sound sources, via the same microphones 6, but the signal of the headphones 40 traveled to the listener 2 at the speed of light (300 000 km / s), while the sound signal 11, which may appear synchronized to the signal from the headset 40 when it is close to the sound 11, accuses when the headset 40 is distant from the sound 11 a delay due to the path separating the listener 2 of the sono 11, traveled to the speed of sound (about 340 m / s).
- the perceived time difference between the two signals is about 60 ms. This offset is important enough to be fully detected by the human ear and be an embarrassment for the listener 2 who will feel an unpleasant echo effect.
- the apparatus 29 in order to minimize (or even eliminate) this echo effect, and this independently of the position of the listener 2 in the room 5, the apparatus 29 (and more precisely its DSP 36) is programmed to capture, via its integrated microphone 38, the sound environment in its vicinity (and, therefore, in the vicinity of the listener 2).
- the DSP 36 is programmed to: - estimate the phase difference between the acoustic signal picked up by the microphone 38 (ambient signal) and the signal intended for the headphones 40 (mixed signal), for example by calculating the delay between maxima; perform a time registration of the mixed signal on the ambient signal, so as to synchronize them.
- the estimate of the delay between the maxima is carried out at a predefined frequency of the sound spectrum, e.g. at a low frequency (corresponding to a dull sound such as a big hit box) or on the contrary at a high frequency (corresponding to an acute sound such as a hi-hat cymbal tempo).
- Time synchronization between two acoustic signals is obtained by delaying the mixed signal by the estimated difference between the maxima of the two signals.
- This difference is preferably re-estimated regularly (eg at regular intervals of 1 second or less) to account for any factor that might change its value (such as moving the listener 2 in room 5 or a change in the physical configuration of the sound stage such as adding and / or removing an obstacle).
- the microphone 38 being integrated in the apparatus 29 and therefore permanently worn by the listener 2, it follows that the time registration is automatically updated accordingly.
- the time adjustment does not eliminate the physical sensations due to the acoustic pressure exerted on the body of the listener 2, in particular in the low frequencies (it is thus known that the bass drum sounds are reflected, at loudness high, in the belly and ribcage of the listeners). But the physical sensations are part of the live experience and, to the extent that the sensations are synchronized with the mixed signal, the listener 2 can have the illusion that they are generated by the mixed audio signal of quality that hears in his helmet 40.
- the time adjustment makes it possible to attenuate (or even suppress) the echo effect, it does not correct, on the other hand, the quality defects of the ambient signal, in particular if the room acoustics and / or the sound 11 and / or the mixing of the signal delivered by it is / are degraded.
- the 40 audio headset is equipped with a noise reduction system (English noise canceling) to reduce the intensity of the ambient signal perceived by the listener 2 and thus make to predominate the mixed signal to improve the listening experience of the listener 2.
- a noise reduction system English noise canceling
- the signal delivered by the third mixer table is eight tracks, which the listener 2 can separately adjust from its terminal 46 and which are combined by the apparatus 29 from these settings to build a mixed audio signal according to the wishes of the listener 2.
- the apparatus 29 is miniaturized and integrated with the audio headset 40.
- the sound system 1 allows the listener 2: to improve his sound experience by allowing him to become, in a way, his own sound engineer;
- the device 29 does not support the entire computational load since it is up to the terminal 46 (separate from the device 29) to display the settings for the benefit of the listener 2.
- the apparatus 29 is preferably electrically self-contained, e.g. equipped with a battery (not shown), which can be periodically charged by connection to the sector, in particular via a serial port type USB (Universal Serial Bus).
- a battery not shown
- USB Universal Serial Bus
- the sound system 1 allows the listener 2 to enjoy a constant experience and quality regardless of its position in relation to the stage 3 or in relation to the sound system 11. Of a acoustic point of view, there is therefore for the listener 2 neither bad room, nor bad placement.
Abstract
Description
Claims
Applications Claiming Priority (2)
Application Number | Priority Date | Filing Date | Title |
---|---|---|---|
FR1550923A FR3032586B1 (fr) | 2015-02-05 | 2015-02-05 | Appareil de reception et de lecture de signaux audio et systeme de sonorisation live |
PCT/FR2016/050243 WO2016124865A1 (fr) | 2015-02-05 | 2016-02-05 | Appareil de réception et de lecture de signaux audio et système de sonorisation live |
Publications (1)
Publication Number | Publication Date |
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EP3254389A1 true EP3254389A1 (fr) | 2017-12-13 |
Family
ID=52988314
Family Applications (1)
Application Number | Title | Priority Date | Filing Date |
---|---|---|---|
EP16707869.0A Ceased EP3254389A1 (fr) | 2015-02-05 | 2016-02-05 | Appareil de réception et de lecture de signaux audio et système de sonorisation live |
Country Status (6)
Country | Link |
---|---|
US (1) | US9942681B2 (fr) |
EP (1) | EP3254389A1 (fr) |
JP (1) | JP2018512107A (fr) |
KR (1) | KR20170115079A (fr) |
FR (1) | FR3032586B1 (fr) |
WO (1) | WO2016124865A1 (fr) |
Families Citing this family (13)
Publication number | Priority date | Publication date | Assignee | Title |
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EP3513565A1 (fr) * | 2016-09-16 | 2019-07-24 | Augmented Acoustics | Procédé de production et de lecture de contenu vidéo et audio multicanal |
FR3070568B1 (fr) * | 2017-08-28 | 2020-06-12 | Theater Ears, LLC | Systemes et procedes pour reduire les effets d'annulation de phase lors de l'utilisation de casque audio |
US10652398B2 (en) | 2017-08-28 | 2020-05-12 | Theater Ears, LLC | Systems and methods to disrupt phase cancellation effects when using headset devices |
FR3073694B1 (fr) | 2017-11-16 | 2019-11-29 | Augmented Acoustics | Procede de sonorisation live, au casque, tenant compte des caracteristiques de perception auditive de l’auditeur |
KR102184918B1 (ko) * | 2017-12-06 | 2020-12-02 | 주식회사 아세스 | 수상 활동을 위한 커뮤니케이션 시스템 및 방법 |
US10481859B2 (en) | 2017-12-07 | 2019-11-19 | Powerchord Group Limited | Audio synchronization and delay estimation |
CN108848434A (zh) * | 2018-05-24 | 2018-11-20 | 深圳普罗声声学科技有限公司 | 音频处理装置的声音处理方法和装置、助听器 |
US11709648B2 (en) * | 2019-12-19 | 2023-07-25 | Tyxit Sa | Distributed audio processing system for processing audio signals from multiple sources |
CN112214106B (zh) * | 2020-09-16 | 2023-05-30 | 青岛小鸟看看科技有限公司 | 高精度抗干扰的vr系统、运行方法 |
CN113411719B (zh) * | 2021-06-17 | 2022-03-04 | 杭州海康威视数字技术股份有限公司 | 一种麦克风级联系统、麦克风及终端 |
CN116915896A (zh) * | 2022-03-22 | 2023-10-20 | 荣耀终端有限公司 | 防止蓝牙音频Track音轨抖动的方法及相关设备 |
KR102638322B1 (ko) * | 2022-05-30 | 2024-02-19 | 주식회사 유기지능스튜디오 | 1인칭 실감형 오디오 컨텐츠를 제작하기 위한 장치, 방법 |
CN116249045B (zh) * | 2023-05-11 | 2023-08-01 | 深圳奥尼电子股份有限公司 | 一种采用无线星链方式的集联麦克风声学技术设备 |
Family Cites Families (4)
Publication number | Priority date | Publication date | Assignee | Title |
---|---|---|---|---|
CN2904481Y (zh) * | 2005-11-10 | 2007-05-23 | 晶通信息(上海)有限公司 | 具备人机接口装置操控功能的蓝牙立体声耳机 |
US9319019B2 (en) * | 2013-02-11 | 2016-04-19 | Symphonic Audio Technologies Corp. | Method for augmenting a listening experience |
US20140328485A1 (en) * | 2013-05-06 | 2014-11-06 | Nvidia Corporation | Systems and methods for stereoisation and enhancement of live event audio |
US20150124995A1 (en) * | 2013-11-04 | 2015-05-07 | David Walter Defnet | Public address system with wireless audio transmission |
-
2015
- 2015-02-05 FR FR1550923A patent/FR3032586B1/fr active Active
-
2016
- 2016-02-05 EP EP16707869.0A patent/EP3254389A1/fr not_active Ceased
- 2016-02-05 WO PCT/FR2016/050243 patent/WO2016124865A1/fr active Application Filing
- 2016-02-05 KR KR1020177024836A patent/KR20170115079A/ko not_active Application Discontinuation
- 2016-02-05 JP JP2017559923A patent/JP2018512107A/ja active Pending
- 2016-02-05 US US15/548,842 patent/US9942681B2/en active Active
Also Published As
Publication number | Publication date |
---|---|
US20180035232A1 (en) | 2018-02-01 |
US9942681B2 (en) | 2018-04-10 |
JP2018512107A (ja) | 2018-05-10 |
FR3032586A1 (fr) | 2016-08-12 |
WO2016124865A1 (fr) | 2016-08-11 |
KR20170115079A (ko) | 2017-10-16 |
FR3032586B1 (fr) | 2018-03-16 |
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