JPH01272293A - Sound air sensor and signal control method - Google Patents

Abstract

PURPOSE:To obtain a new sound air feeling and a clear feeling associated with a music image by connecting one end of a sound path formed separately from an external air to an air pressure assembly for generating air pressure and disposing the other end of this sound path in the vicinity of a position for assuming a listener. CONSTITUTION:A sound pressure generating part 2 having an oscillating unit 3 is mounted under a main body 1. This oscillating unit 3 generates a mechanical oscillation and a sound pressure oscillation and the mechanical oscillation is transferred to the bottom of the listener in the main body 1. The sound pressure oscillation is transferred to the sound path 4 protruding from a sound pressure generating part 2, enters a sound absorbing chamber 5, the middle and high tone area of sound pressure is absorbed and a super low area only is transferred to the sound path 4. The air pressure of the super low tone zone coming to the sound path 4 is discharged at high speed to the external air from five nozzles 6. According to this discharge, the air on the nozzle 6 is induced to blow off in the large quantity of sound air. Thereby, the new sound air feeling and the clear feeling associated to the music image can be obtained.

Description

DETAILED DESCRIPTION OF THE INVENTION [Industrial Field of Application] The present invention relates to a device and a signal control method for providing a sound and wind sensation in an acoustic device such as a reproduction speaker or a sound sensation device.

[Prior Art] Current speaker reproduction alone is not sufficient to express the sense of reality, presence, presence, etc. of music reproduction. To this end, audio manufacturers have developed and commercialized vibrating devices (eg Body Sonic) that appeal to skin sensations. Also, speakers that used air pressure to form highly efficient horns were used during the war. Furthermore, as a filter for ultra-low frequency noise, a technology has been proposed for video cameras that changes six characteristics in conjunction with exposure switching.

``Problems to be Solved by the Invention'' By the way, such skin vibrating devices are usually attached to chairs, sofas, floors, etc., and of course do not have their original effect unless they are touched there. In addition, with the type that vibrates the floor, there is a high probability that it will be touched by someone, but unfortunately, the area of contact with the human body is extremely small, only the soles of the feet, and the effect is proportionally small. Furthermore, this vibrating device tends to transmit noise from the floor to other rooms, creating a problem of noise. Particularly in the case of using it in combination with a phone call late at night, the number of questions will be one in between. This also applies to all skin vibrating devices. On the other hand, it is known that exposed parts of the skin, such as the face and nape of the neck, have developed vibration perception and tactile sensation, and headphone devices that actively vibrate in this area have also been proposed. However, this vibration gives an artificial feel and has fatal problems such as skin damage and poor wearing comfort.

Furthermore, conventional vibration devices can reproduce signals other than the sound pressure included in the recorded signal, such as wind noise, human body transmitted sound, and other signals that do not have the correlation characteristics of normal air-mediated sounds, without distinction. Or it was vibrating. Therefore, for example, wind noise, which is supposed to be a relatively unobtrusive sound that you hear in your daily life, becomes extremely loud and heart-wrenching with conventional reproduction methods. The sound had a strong presence as an incidental sound with a sense of sound pressure on the body. Of course, there are claims that this can be used to simulate the cannon sounds of Tchaikovsky's 1882 Overture by mouth, but this is a technique that can be achieved with multi-monaural recording; Handy
・For the above reasons, wind noise has always been treated as noise in simple recordings such as video, pinaural, and one-point microphone recording. In other words,
Something that is supposed to be gentle, like a gentle breeze, vibrates and pressurizes the body with a large amount of energy when it is regenerated, making it extremely unnatural and extremely uncomfortable. It is also possible to eliminate such sounds during recording by cutting the ultra-low range or by windproofing the microphone. However, this means that one element of expression, such as the feeling of fluidity in the air, the feeling of coolness, the sense of freedom, and the image of action, which can be felt by this sound, is thrown away.

Pneumatic speakers, which were used as a highly efficient means of sound transmission during wartime, always have a horn attached to the airflow opening in order to form sound, and any wind that leaks through this is immediately diffused, creating sound wind. cannot be used at all.

An object of the present invention is to eliminate various drawbacks of these conventional pseudo-experience devices and low-pass filters.

Today, digital recording and playback such as CDs and DATs has become mainstream, and it has become possible to record and play back ultra-low frequencies with an accuracy that is unimaginable with analog. However, if conventional thinking is continued, this wide band will cause various unfamiliar aspects and inconveniences, including microphone distortion, and for example, the problem of a signal close to direct current entering the speaker and going outside the voice coil's linearity region. occurs. Therefore, when producing software, ultra-low frequency cuts are performed to remove such inconvenient signals. Such operations only cause deterioration of sound quality and phase disturbance due to the filter, and currently no innovative solution has been achieved. In view of the current situation, it is an object of the present invention to provide a reproducing device that makes maximum use of the ultra-low frequency reproducing ability and does not have the side effects of an ultra-low frequency reproducing device.

[Means for Solving the Problems] In order to achieve the above object, the present invention connects one end of a sound path formed apart from the outside air to a pneumatic assembly that produces air pressure, and A sound-wind experience method characterized in that the other end is installed in the vicinity of the listener's assumed position; A sound path leading to the vicinity of a position, the sound path having a sound outflow end formed by an aperture on the listener's assumed position side of the sound path; A signal control method is provided in which a low frequency transfer function is changed using a correlation signal obtained by comparing a plurality of low frequency audio signals.

[Function] The present invention is a device that generates sound wind from a bass signal, and a signal control method that distinguishes air-mediated sound from non-air-mediated sound in an audio signal.

A sound path such as a pipe is formed in a speaker, a vibrating device, or a specially made low-frequency output device, and one end of the sound path is shaped like a nozzle and directed toward the listener.

In this way, air pressure generated by a low frequency of, for example, 10Hz is ejected from the nozzle, sending a "wind" to the listener.
provided as.

By reducing the sound pressure and increasing the speed of the air passing through, this nozzle has the effect of drawing in the air around the nozzle and emitting a large amount of sound wind. It has an effect similar to a valve that makes it non-linear and limits the outflow direction to one direction.

In addition, in order to use this sound-wind experience device as an advanced high-fidelity reproduction means, a signal control device is required to distinguish signals that are out of correlation characteristics as an air medium from music signals.
It is used to extract sound and wind signals, to control the main signal during extraction, or to exclude non-air media sounds in ordinary playback devices.

Its specific action is as follows.

When a filter that limits low frequencies (e.g. 30Hz to 120Hz) and a comparator that compares the correlation between the signals recognize that the correlation is low, the low frequency is not attenuated or amplified and the sound and wind experience device is used. form a signal for use. At this time, the low frequency components of the main signal are conversely reduced. On the other hand, when the correlation between the left and right signals is high, the sound and wind sensation signal is suppressed, and the main signal has a flat frequency characteristic.

Note that the main signal refers to a signal directed to a normal speaker or a signal for a skin vibrating device, and measures such as cutting ultra-low frequencies are roughly applied to the speaker signal only, depending on the speaker's ability. As a result, it is preferable that the sound and wind sensation signal, the skin vibrating device signal, and the speaker signal be controlled at different frequencies in the low frequency band. In addition, only the control of the sound and wind experience signal is approximately 3
Sounds below 0 Hz are output without distinguishing between correlations. The reason for this is that air media users in the ultra-low frequency range below this frequency band have a sense of air flow, as if the air is flowing, and the sound pressure sensation changes to a sense of air flow.

In addition, when the main purpose is to experience pseudo sound pressure, that is, when using a sound-wind experience device as a substitute or supplement for conventional skin vibration devices or ultra-low sound, it is necessary to limit the control method to the above method. Rather, it is preferable to limit the control to simple ultra-low frequency attenuation control of the main signal for the speaker or the above-mentioned non-air medium sound removal control.

Furthermore, by placing the fragrance in a location where the wind speed is high, such as near the nozzle, it is possible to enjoy a gentle scent at the same time as the sound wind.

[Example code] The present invention will be explained below based on the accompanying drawings.

1.2.3 are a perspective view, a side view, and a front view showing one embodiment of the present invention. 1 is a main body, 2 is a sound pressure generator, 3 is a vibration unit, 4 is a sound path, 5 is a sound absorption chamber that also serves as a sound path, 6 is a nozzle, and 7 is a headrest.

The main body 1 is a frame of a chair, and the legs and the cosmetic mat are omitted. A sound pressure generating section 2 having a vibration unit 3 (driving section and wiring are omitted) is attached below the main body 1. The purpose of this vibration unit 3 is to generate mechanical vibrations and sound pressure vibrations, and the mechanical vibrations are configured to propagate through the main body 1 toward the listener's buttocks. Further, the sound pressure vibrations are transmitted to the sound path 4 protruding from the inside of the sound pressure generating section 2, and then enter the sound absorption chamber 5.

The sound pressure in the middle and high range is absorbed by the sound absorption chamber °-5, and only the extremely low range is transmitted to the sound path 4. Note that glass wool or the like is inserted into the sound absorption chamber 5 (not shown). It is also possible to transmit mechanical vibrations to the listener's back by making the wall material of the sound-absorbing chamber highly elastic; however, in this embodiment, the wall surface is made of a hard material. This makes the propagation of low-frequency sound pressure efficient.

Now, the air pressure that has reached the sound path 4 is vigorously released from the five nozzles 6 to the outside air. This emission draws in the air around the nozzle, which blows out a large amount of sound wind. In addition,
This attraction is based on the same principle as a pump that uses water pressure to draw water from a bath, etc. Therefore, if a cylindrical enclosure is provided around this nozzle to attract air, similar to the pump described above, the surrounding air will be further reduced. The attraction effect will be improved.

As a modification of this embodiment, the nozzle can also be placed in front of the listener, in which case it is preferable to aim it toward the outer ear. This is because even relatively small wind noises produce the sound of wind cutting in the outer ear, allowing users to experience realistic outer ear wind noise.

Furthermore, when using this sound and wind experience device, it is preferable to use a closed type main speaker. This is because in a bass reflex speaker, the above-mentioned surrounding air attraction occurs at the outlet of the duct, and as a result, the sound pressure blown out from the duct is non-linear and becomes a distorted sound. This is because, as will be described later, it is preferable to limit this to only when airborne sound is reproduced.

Also, if you use a bass reflex type subwoofer as the main speaker for some reason, the duct 8 should be connected as shown in Figure 6.
A cylindrical object made of compression-molded random fibers with a relatively coarse mesh that suppresses the flow rate of air by enveloping the duct.
It is desirable to use the silencer 9 by inserting it into the duct or by attaching adhesive to the periphery of the duct. As a result, changes between when the sound and wind experience device is in operation and when it is not in operation, that is, changes in non-airborne sound and airborne sound, are expressed more clearly, and at the same time, it helps to reduce distortion of the main speaker and improve sound quality.

Figures 4.5 are a perspective view and a top view showing an embodiment of a large sound and wind experience device. lO is the compressor, 11, 1
2. 13 is Ondo, 14. 15 is a tank, n is a nozzle, and the air pressure created by the compressor 10 is stored in the tank 15 and smoothed. This pressure is sent to the sound wind shutter 16 via the sound path 12. This shutter 1
Although not shown, a shutter plate 6 for controlling air pressure shielding, a voice coil for driving the shutter plate, a magnetic circuit, and an external audio signal input terminal are provided at 6. The sound pressure controlled here is then sent to the tank 15 via the sound path 13, and after smoothing and removing the air friction noise generated by the shutter, the air pressure is vigorously released from the five nozzles 17. As a result, a sound wind is formed over a wide range of the nozzle 17.

It should be noted that the above embodiments are basically designed to be used by being embedded in the inner wall of a building, and therefore the connections between the various sound paths do not need to be linear as shown. Furthermore, each tank may also use a part of the building.Furthermore, since it is sufficient to control the shutter 16 using a valve that utilizes the shape change of a piezo element or only low frequency operation, Solenoid valves can also be used. The compressor can also use the air pressure of an air conditioner for a vehicle or the like. However, since the air pressure is not very high, the shutter and sound air outlet in this case need to be larger. Further, in this embodiment, the shutter activation signal is a rectified and slightly smoothed audio signal.

As a result, the shutter is completely closed when there is no signal, and is opened only when an audio signal is received. Therefore, wasteful air pressure is prevented from flowing out when there is no signal, and efficient sound wind can be obtained.

Also, various effects can be changed depending on the installation location of the nozzle, which is the air outlet. For example, by installing it on the floor at a disco, you can expect sound wind to blow out from below in response to the disco sound, causing skirts to fly up. In addition, by installing the shutter on an overhead jump rear or ceiling, and distributing the shutter operation and operating frequency, it is possible to enjoy variations such as from the floor for low-range users, and from the ceiling for mid-high range users. You can get a new sound experience and a refreshing feeling linked to the music image.

Furthermore, by installing fragrance capsules near the nozzle of the sound-wind experience device or in other areas where good air flow occurs, it is possible to obtain scent effects depending on the sound and wind.
As mentioned above, by adding different fragrances to multiple sound and wind experience devices, a blend of scents linked to music can be created. A remarkable effect is produced, and this effect can also be obtained by placing it in the duct of a normal 2-channel speaker. This fragrance also has the effect of removing the bad odor of the material that inevitably occurs in this device, and from that point of view, it may be possible to install an odor eliminating material. FIG. 6 is a cross-sectional perspective view of the vicinity of the speaker duct, showing the state in which the fragrance is installed. A visible plastic support member 19 is inserted into the inner wall of the duct 8 supported by the baffle 18 to support the condition under tension, and a porous fragrance member 20 with relatively good air permeability is adhered to this support member 19. has been done.

Further, an embodiment in which the direction of the sound wind' is changed according to an input signal will be described below.

This embodiment aims to change the direction of the sound wind from time to time, and a nozzle is attached to each sound wind source that obtains the left and right signals in the same phase or in opposite phase, and the nozzles are opposed to each other at an angle. In this way, the direction of the synthesized sound wind always changes due to the difference in the amount or variation of each nozzle, or the phase difference. In-phase and anti-phase also have the effect of canceling sound and wind, making it possible to control based on the correlation between left and right sides without being able to perform signal control as described later.

Furthermore, if the difference between the left and right signals is small, this change can also be made by, for example, the difference in volume between the ultra-low range and the mid-low range. As a result, the direction of the sound wind changes from moment to moment, allowing the listener to always enjoy a new and fresh sense of the sound wind.What's more, the fact that the taste changes depending on the program source is very enjoyable. .

Figure 7 shows how the left and right correlation characteristics of the air medium amount are detected, and the main signal for the speaker, the skin sensation device, and the sound and wind sensation device.
This shows an example of a circuit that controls audio signals.

The circuit configuration will be explained below, focusing on its operation.

The audio signal 21 is filtered by a filter 2 that limits the left and right channels to low frequencies (30Hz to 120Hz) independently.
2, and the correlation is calculated by the left and right correlation comparison unit 23 which compares the correlation of the signals. It is preferable to perform this calculation using a commercially available binaural correlation coefficient measuring device, but it is also possible to simply convert the AC signal obtained by left and right subtraction to DC (in this case, the normal correlation coefficient If the correlation is low, the output voltage will be high, and if the correlation is high, the output voltage will be low, and a voltage that is opposite to the output of the above binaural correlation coefficient measurement result will be output.Therefore, in the case of this subtraction-only configuration , the output voltage is inverted or the controller 24
．． It is necessary to make changes such as reversing the operation of 25 or moving the inverter 26 between the calculation signals 28 on the controller 24 side. Furthermore, the reason why the upper limit of the frequency range is set to 120 Hz or less is that this range allows the body to sufficiently feel the sound pressure sensation. Although there are some individual differences in this range, it has been published in the Journal of the Japan Society of Applied Physics that it varies greatly depending on skin temperature.) The signal calculated here is first sent to the two-channel control amplifier 27 for sound and wind experience.
The signal is supplied to a controller 24 which controls the amplification degree of the signal. This controller 24 controls the control amplifier 2 when the calculation signal 28 is large.
When the calculated signal 2 is small, the feedback is small. With the circuit configuration described above, for example, if the audio signal contains the sound of wind noise generated in the outer ear due to wind blowing, there is no correlation as with normal bass sounds with long wavelengths, and therefore, The calculated signal becomes smaller, and as a result, the sound and wind experience output signal 29 is output without being attenuated or amplified. In addition, in the case of normal musical tones, for example, the low range of a pipe organ, for example, 30H2 to 120H.
If the sound is between 2 and 2, the calculated signal is 28 regardless of the volume.
Since the correlation is high, the value becomes large (approaches 1), and therefore the sound and wind experience signal 29 becomes small. Note that the low-frequency characteristics are not intentionally extended in the controller 24 so that frequencies below 30 Hz do not have to be controlled. Therefore,
Ultra-low frequencies below 30H2, which are close to sound and wind, are extracted without limit as signals for sound and wind experience devices.

Incidentally, in conjunction with the control operation of the sound and wind sensation signal, the low frequency components (30z-1201Lz) of the main signal 30 and the skin vibration device signal 31 are operated in the opposite manner. Its specific configuration is as follows. Calculation signal 28
is divided into two, and the other is inverted by the inverter 26, and the controller 2
5 is input. This controller 25 performs feedback control of the amplifier 32, and its operating frequency range is limited by the filter portion 33. Here 1tlz~120t
The range is 1z. Note that the reason why the lower limit of this limited frequency is set to the maximum is to sufficiently suppress ultra-low frequencies of non-airborne sounds such as wind noise. Moreover, since this suppression is not suppressed for highly correlated music signals, musical sounds such as those from a vibe organ pass through the amplifier 32 as they are. The audio signal controlled as described above is output as is as the main signal 30 and the skin vibration device signal 31. It is also conceivable to allow the main signal to pass through a filter 34 or the like depending on the capabilities of the device. This filter 34 is provided for the purpose of protecting the device and suppressing low frequency modulation.

As a result, the sound and wind sensation signal 29, the skin vibration device signal 31, and the speaker main signal 30 are controlled to have different frequencies in the low frequency band.

In addition, when the main purpose is to experience pseudo sound pressure, that is, when using a sound-wind experience device as a substitute or supplement for conventional skin vibration devices or ultra-low sound, it is necessary to limit the control method to the above method. Instead, it is preferable to limit the attenuation control of the filter 34 or the above-mentioned non-air medium sound removal control only.

Effects of the Invention This device focuses on providing a simulated experience of ultra-low frequencies of several Hz contained in digital signals such as CDs and DATs, and provides the sound wind to the human body. This makes it possible to provide a simulated low-frequency sound pressure experience that cannot be obtained with speakers or headphones.

And, unlike conventional vibrating devices, it is possible to provide a pseudo-physical sensation effect to the entire human body, including the vicinity of the head. Furthermore, since there is no contact with the human body during pregnancy, it is possible to provide an image closer to the sound pressure sensation of the original sound field. Furthermore, if the frequency is limited to inaudible ranges, energy in the form of sound pressure is not required, so you can fully enjoy listening to music late at night without noise.

This sound and wind experience device has the special effect of making it possible to simulate ultra-low frequencies that could only be reproduced using extremely large speakers. For example, the sound of 20 II z is close to the audible limit, and the recognition of that sound is largely dependent on things other than the ears. One of these is the sensation of vibration felt by the skin of the entire body, and the other is the sensation of flowing air that is unique to low frequencies. The present invention reproduces this feeling of fluidity of air.
Even if the ultra-low range is not reproduced as a sound pressure, this sense of fluidity allows for a simulated experience. If we limit ourselves to ultra-low frequencies such as 20 Hz or less, we can obtain a simulated experience that far exceeds that of conventional skin vibrating devices. This is because vibrations of about 20 times per second do not cause much change in acceleration when touching the skin, so they are not felt by the body. In addition, in the case of car audio, the effect of conventional skin-mounted devices is greatly reduced due to the fact that the car body is constantly vibrating, whereas the sound and wind experience of the present invention relies on vibrations. Because there is no vibration, you can fully enjoy the simulated experience of low sound even in a car with a lot of vibration. Furthermore, by configuring the system so that the sound wind reaches the hair, it is possible to reproduce the feeling of vibration of the hair in the ultra-low range. As can be inferred from the amount of surface area of the hair, the vibration sensation of the hair is large and the effect is great.

As described above, even when it comes to musical sounds alone, a new low-frequency experience that cannot be obtained with any type of device such as conventional speakers or headphones can be obtained. In addition, it is possible to simulate the external ear blowing and wind noises that are experienced every day in the natural world.In particular, by placing the nozzle in front of the listener, the external ear blowing sound can be generated with a relatively small sound wind. Furthermore, by controlling the direction of the nozzle, it is possible for listeners to experience actively blowing sound wind onto exposed areas such as the face and nape of the neck, where vibration perception and tactile sensation are well developed. It gives you a sense of freedom and reality, like walking in a gentle breeze. Furthermore, since it is non-contact like in the past, it is free from effects such as skin damage and deterioration of wearing comfort, and has the effect of eliminating artificial feel.

Furthermore, unlike conventional vibrating devices, it is possible to provide a pseudo-physical sensation effect to the entire human body, including the vicinity of the head.

In particular, as mentioned above, since it can be enjoyed without contacting the human body, it is possible to provide an image closer to the sensation of the sound pressure l' of the original sound field.
Since it is non-contact, even listeners who are constantly moving their bodies, such as at a disco, can fully benefit from the effect.

In addition, since a configuration can be adopted in which energy is supplied from direct current air pressure without using a sound pressure source to form the sound wind, it is possible to enjoy listening to music late at night to the fullest without noise using only the sound wind.

Furthermore, the control frequency on the main signal side was maximized.

This makes it possible to sufficiently suppress ultra-low frequencies of non-airborne sounds such as wind noise. Furthermore, since this suppression is not suppressed in highly correlated music signals, musical tones such as the bass of the vibe organ pass through the amplifier 32 as they are.
Musical sounds can be played back without distortion.

On the other hand, various effects can be obtained depending on the installation location of the nozzle, which is the air outlet. For example, by installing it on the floor at a disco, you can expect sound wind to blow out from below in response to the disco sound, causing skirts to fly up. In addition, by installing the jump rear overhead or on the ceiling, and distributing the operating frequency of the shutter, you can enjoy variations such as from the floor for low loads, and from the ceiling for medium and high loads. You can enjoy a new sound and wind experience linked to the air, and a refreshing sensation.

Furthermore, by installing fragrance capsules, you can enjoy scents that are linked to sound and wind, and by using different fragrances in multiple sound and wind experience devices, you can create a blend of scents that are linked to music. This fragrance also has the effect of removing the bad odor of the material that inevitably occurs in this device.

In terms of manufacturing the device, since the shutter 16 only requires low-frequency operation, it is advantageous in terms of cost because solenoid valves for vehicles can be used, and air pressure from air conditioners for vehicles can also be used for the compressor. This allows for a dual-use design, and also allows you to enjoy sound and wind with temperature control.

The effect of the nozzle used is to reduce the sound pressure and speed up the speed of the air passing through it, and to draw in the air around the nozzle to produce a large amount of sound wind. It has an effect similar to that of a valve that limits the

The above are the effects of the sound and wind experience device only, but the characteristics and effects of the electric circuit used to control the sound and wind will be described below.

Explanation of Correlation 2 Normally, ultra-low frequencies have long wavelengths, so the left and right signals are characterized by a high correlation, and as a matter of experience, the human body perceives sounds with a high left-right correlation as having an actual sound source. On the other hand, ultra-low frequencies with a low correlation are recognized as having no real sound source, such as wind noise caused by wind blowing across the outer ear. In sounds with such a low correlation, the sound pressure energy of ultra-low sounds is not strong, and there is no sound pressure sensation that resonates in the abdomen.

Therefore, by operating the conventional skin vibrating device and the main reproduced sound with a signal that has a high correlation, and operating the sound-wind experience device of the present invention with a signal that has a low correlation, an experience that is faithful to the original sound can be obtained. It will be done.

The present invention has been made in view of the above. The signal control device is capable of distinguishing non-air-mediated sound signals that are out of correlation characteristics as air-mediated sounds from music signals.

As a result, it is possible to extract sound and wind signals, control the main signal at the time of extraction, or eliminate non-air media sounds in a normal playback device.

This non-air media sound refers to a signal that does not have the left-right correlation characteristics of normal air media sounds such as wind noise and human body transmitted sound.
It distinguishes between sounds with high left-right correlation, which is a characteristic of low frequencies. For example, when the external ear wind noise caused by wind or exhalation is mixed into the audio signal, the sound wind is large, and the speaker and the skin sensation device can be made small in the low frequency band. This has the effect of preventing your breath from becoming as powerful as a monster's, and allows you to enjoy the fluidity of the air, the feeling of coolness, the sense of freedom, and the elements of expression such as the image of action, without abandoning them. becomes possible. In other words, although wind noise has a great sense of energy, it sounds soft and natural, like a gentle breeze. Of course, you can get this feeling without using a sound-wind experience device. In other words, when playing wind noise, the same image is obtained because the low frequency component that responds to the sudden sensation felt in the body is eliminated.

The above control is effective not only during playback but also during recording. For example, stereo handy
By performing this control when recording video, pinaural, or one-point microphone recording, it is possible to achieve both sufficient sound and wind noise rejection ability and the ability to record ultra-low frequencies in musical sounds.

It also makes it possible to eliminate the deterioration in sound quality caused by ultra-low frequency filters and microphone windshields. It is also conceivable that this may be applied to a microphone circuit in which two microphone units are integrated into one package.

Note that the signal for the sound and wind experience/device is configured to output sounds of 30H2 or less without distinguishing between correlations. As a result, the sense of air flow in the sound in the ultra-low frequency range is output as a sound-wind experience signal regardless of the presence or absence of correlation, and reproduction close to the real image can be obtained.

Note that Japanese Patent Laid-Open No. 61-5700 discloses a low-frequency noise removal circuit that reduces out-of-phase open noise in low-frequency correlation. This is a circuit that combines long-wavelength musical tones and long-wavelength noise into left and right signals, and uses the principle of superimposition to reduce signals that correspond to random noise. - Although they seem to be similar, there are the following problems.

■...Left and right are always synthesized, which is unfavorable in terms of sound quality. In theory, monaural sound would be sufficient for bass sounds with long wavelengths, but the phase difference between the left and right signals causes bass fluctuations in the reproduced sound field. It is well known that this is involved in the ability to reproduce the sense of realism and the dynamism of music. For example, in theory, if the bass range is monaural, there is a problem in that standing waves in the space to be reproduced will clearly occur.

■...Harmonic components are created due to the phase difference between the left and right sides of the bass range.

■...He is not good at expressing sounds such as the wind in the outer ear.

■...The idea of eliminating random things by overlapping multiple pieces of information has produced a great effect in the field of measurement, but this is the effect of overlapping several thousand to hundreds of times. If it is stacked once like in the invention, the elimination ability is extremely weak. In this case, the only effect is that the same-volume, different-phase sound characteristic of cartridge mistracing is subtracted.

Although the above-mentioned shortcomings can be pointed out, this JP-A-61
-5700's content shows that the low-frequency noise is only the noise caused by tracing mistakes on analog records.
You can expect good results. However, noise in the transmission system similar to such trace errors is extremely special and is completely absent in digital audio, which can be said to be the mainstream from now on, so this circuit is ineffective and useless. In the case of digital, it is correct to think that all differences in correlation include various information at the time of recording. Therefore, in the present invention, the low frequency control is performed after recognizing the difference in the correlation that changes from moment to moment.

[Brief explanation of the drawing]

FIG. 1 is a perspective view showing an embodiment in which the present invention is applied to a chair. FIG. 2 is a side view of FIG. 1. FIG. 3 is a front view of FIG. 1. FIG. 4 is a perspective view showing a larger embodiment of the present invention. FIG. 5 is a top view of FIG. 4. FIG. 6 is a partial sectional view showing the vicinity of the speaker duct. FIG. 7 is a circuit diagram. Middle 6th figure

Claims (5)

[Claims] 1. A sound and wind experience system characterized in that one end of a sound path formed separated from the outside air is communicated with a pneumatic assembly that produces air pressure, and the other end of the sound path is installed near the intended position of a listener. 2. A sound path that communicates with the duct or sound pressure outlet of the sound pressure assembly and leads to the vicinity of the listener's assumed position, and that is formed by an opening on the side of the listener's assumed position of the sound path. A sound path with a sound and wind experience. 3. A signal control method characterized by changing a low frequency transfer function using a correlation signal obtained by comparing a plurality of low frequency audio signals. 4. A scent control device comprising: a support part that contacts and supports a sound path or a duct of a sound pressure assembly; and a fragrance material or a deodorizing material disposed in an air flow area of the sound path or a duct of the sound pressure assembly. 5. A sound path member connected to the vicinity of the outer end or inner end of the duct pipe of the sound pressure assembly, which provides air permeability to the sound path member and prevents loss in the low frequency sound wave region. A duct silencer characterized by forming.