JPS62202698A - Automatic controller for audio signal transfer function - Google Patents

Abstract

PURPOSE:To prevent a noise suppressing member from arranging in the vicinity of a face by applying automatic control to a band signal transfer function having bad sound pressure sensitivity act upon ear and excellent sound pressure sensitivity acted on body by means of a signal having ear and body sound pressure sensitivity. CONSTITUTION:The transfer function of an audio signal at a frequency band giving bad ear sound pressure sensitivity and excellent body sound pressure sensitivity is controlled automatically by using a signal singly or in combination of two signals (1) a signal obtained by calculating the integration of audio signals at a frequency band giving excellent ear and bad body sound pressure sensitivity and (2) a signal obtained through the correlation comparison of left/right signals of a frequency band giving bad body sound pressure sensitivity and excellent ear sound pressure sensitivity. Thus, natural sound without artificial feeling is obtained, and the control of the sound pressure feeling balance changing time wise is facilitated with high reliability and stability.

Description

[Detailed Description of the Invention] (Industrial Application Field) The present invention is designed to change the natural balance between the sound pressure sensation felt by the ears and the sound pressure sensation felt by the body, which does not exist in the original sound field, and the sound pressure sensation balance change. Concerning the automatic control device for the audio signal system that allows users to experience audio, the above-mentioned audio signal system refers to the audio signal system that has already passed through a transmission medium such as radio waves. It means a signal before input, a signal for amplification, etc.

(Prior art) (A) 1 = Reproduction that makes it possible to balance the sense of sound pressure in the above method of varying the influence of the sound damping member by positioning a sound deadening member between the speaker and the speaker. There is a way.

(0) In the past, there was a case where a harmonic overtone generator called an ocdaver was accidentally causing a change in the sound pressure balance.

(c) Conventionally, constant pressure balance has been achieved by increasing the amount of ultra-low frequencies using a graphic equalizer, etc.
It was possible.

(d) If you try to change the sound pressure balance using conventional methods rather than quantitatively, for example, by using graphic equalizer technology, you can create audio with a natural sound pressure balance by relying on human sensitivity. It was possible to control the signals.

(The above-mentioned conventional techniques have the following drawbacks.

(b) Positioning a sound deadening member between the listener and the speaker,
In the above method of varying the influence of the sound deadening member, the balance of sound pressure sensation is 11! i! However, it is essential to place the sound deadening member close to the face, so that it is not enclosed, and in addition to maintaining the balance of sound pressure, it is necessary to monitor changes in that balance from time to time. In order to make this change, it was necessary to use special equipment to vary the silencing rate of the silencing effect produced by the silencing member, which was unprecedented.

(0) Conventionally, there is an overtone generator called an octaver,
There is a machine that creates a signal one octave lower than the low frequency signal of the audio signal, and depending on the program source, there may have been a chance that the sound pressure balance changes. The method of adding a signal that does not exist in the source can be said to be a method that goes against the theory of original sound reproduction, and it actually gives off an artificial feel.

(c) There is no device or method that can simulate the natural balance change between the sound pressure sensation felt by the ears and the sound pressure sensation felt by the body, which exists in the original sound field.
In conventional audio devices other than the above (a) and (u), the sound pressure balance changes or the sound pressure balance is disrupted before reaching the listener, so the natural balance as heard in the original sound field is not disturbed. There was something unnatural about it.

Conventionally, quantitative sound pressure balance has been possible by increasing the ultra-low frequency range using graphics, equalizers, etc. However, the following problems arise due to the constant increase in ultra-low frequency t. there were.

(:) The sound of the audio signal that matches the 7J frequency band was made indiscriminately louder, so compared to natural sounds, it is chaotic, has little variation, and feels unnatural to the ears and body. It was a playback sound.

(Book) The low-frequency noise of the audio signal that matched the adjusted frequency band was always felt in the ears and body, and the reproduced sound had a lot of noise.

(h°)a Expect large fluctuations in the pressure balance.In music, for example, when considering the performance of a contrapass and the sounds of insects, conventionally, in order to fully reproduce the sound pressure sensation of a contrapass, the If you shift up the range sufficiently,
When the scene changes to the scene where only the sound of insects is heard, the balance of sound pressure is originally appropriate for the ears, but the background noise of Mars and the ambient sound pressure are felt. It created a balance. Also, if you match the ultra-low frequency control spear to the sound pressure balance of insect sounds, it is obvious that the contrapass will be unsatisfactory. , I had no idea what to do.

Also, from the above, the idea that it is better to record without ultra-low-range background noise at all times naturally arises.Although it may be true, in general, more than 90% of the spaces where music is enjoyed.

There is usually enough background noise in the ultra-low range, which is the case with iE. If you always record without background noise in the ultra-low range, the short/long intervals between the sounds will always create an uneasy feeling, as if you were on top of a mountain. occurs.

Background noise can also be said to be an important piece of information that represents a factor in the hall, so it would be a bad idea to limit it.

(g) As one method to solve the problems in (a) to (f) above, Audio No. 18 has a natural sound pressure balance by relying on human sensitivity, for example, using graphic equalizer technology. control is possible, but
It was unstable and lacked reliability, and the ever-changing sound pressure balance was beyond human control.

(Methods F, 'J for solving the problem) In order to solve the above problems, according to the present invention, a frequency band in which the ear has poor sound pressure sensitivity and the body has good sound pressure sensitivity is provided. The transfer function of Audio No. 18 in at least some frequency bands of (a) the accumulation of audio signals in at least some frequency bands in which the body has good sound pressure sensitivity and the moon has good sound pressure sensitivity; (b) Correlation comparison of left and right signals in at least some of the frequency bands in which the body has poor sound pressure sensitivity and the ears have good sound pressure sensitivity. 1 to -'), and one of the two signals (a) and (0) above, either alone or in combination, can be used to manually control the signal. By making this possible, an audio signal transmission numerical aperture automatic control device is provided.

(Example) Embodiments of the present invention will be described below with reference to the accompanying drawings.

In an audio playback device that can give a sense of sound pressure to the body, we will first explain an example of a device that controls the natural state of the sound pressure received by the listener's body. Explain what the natural state of pressure is.

In FIG. 1, in a room with flat reverberation, a sounding body 1 and a microphone 2 placed at the listener's ear position are prepared. Further, the sound produced by the sounding body 1 is pink noise, and the sounding body 1 can be moved away from or close to the listener 3. And what is the sound pressure change caused by this distance operation?

The microphone 2 is adjusted so that the sound pressure is always constant at the listener's position.

Furthermore, positions 4, 5, and 6 are arranged in descending order of the distance of the sounding body 1 to the listener.

Figure 2 shows the iso-sensitivity curve for the sound pressure in the ear and the iso-sensitivity curve for the sound pressure sensation felt by the body, and the vertical axis represents the sound pressure sensation felt by the ear and the sound felt by the body. The pressure sensation was adjusted to make it easier to compare trends.

Now, regardless of whether the sounding body l is in position 4, position 5, or position 6, the transmission frequency characteristics of the microphone 2 at that position are always the same, and the transmission frequency characteristics at that position are always the same. The sound at the ear position of person 3 has the same sound pressure no matter where the sound producing body is located, and the isotone sensitivity curve felt by the ear is line 7 no matter where the sound producing body is located.

On the other hand, the amount of vibration received by the body is greatly influenced by the distance of the sounding body, and the farther the sounding body is, the more the sound pressure can reach the listener's body evenly. In this case, the '8 sound that your body feels! The ξ degree 1111 line becomes line 8, and when it is at position 5, the isotone sensitivity curve becomes line 9, and further in the position, the isotone sensitivity curve becomes line 1.
Changes to 0.

As can be seen from the above, even if the distance between the sounding body is moved so that the sound pressure perceived by the ears does not change, the vibrations felt by the body tend to be higher when the sound source is far away and diffused.

Furthermore, unlike the function of the ears, the ability to analyze the sound pressure experienced by the body in relation to frequency is greatly inferior, so it is thought that the sound pressure is felt as a total absolute amount. Therefore, when the sound source is at position 6, the body is captured and the six sound pressure distractions are greatly involved in the area 11 surrounded by line 8.Similarly, the sound source 1
3rd floor and 5th is the area! 2. At sound source position 4: Well, area 1
It becomes 3.

As mentioned above, the sound pressure sensation perceived by the body is based on an area of 21
, 12 , 13 depends largely on the amount of 5iATJ.

As can be seen from Figure 2, the trends of the isotone sensitivity curve of the ear and the isotone sensitivity curve of the body with respect to frequency are quite different. Most of the information sources for sound perception are J.
It can be said that it is T-centered, but that is only up to around 70 Itz, and in the Ig+ wavenumber band below that, the information gradually becomes dominated by sound pressure information captured by the whole body. . This frequency band does not have a fixed value because it is influenced to some extent by the skin rg temperature, but it is well known that the above-mentioned alternation of initiative exists.

As shown in FIG. 3 above, area 17 is the frequency band in which the information on the amount of sound pressure captured by the whole body has the main power of cognitive information.

Therefore, when the sounding body 1 is at position 5, the transmission frequency characteristics of the audio signal sent to the sounding body L are controlled, and the amount of sound pressure felt by the area 170 body is adjusted to the line
14, 15, Hi, and area 2
0 = Screen 11, Area 21 = Screen size 12, Area 22 = Screen size 1
By creating a relationship of
However, the problem is minimal because the ear is not sensitive), the amount of sound pressure felt by the body changes in the same way as natural hearing, that is, the surface! i 11 , IN represented by 12.13
I was able to control the amount of stagnation to be exactly the same.

Above, sound pressure on the body! C5 Next, explain which number 13 is used to perform the absolute amount J:j rabbit.

By controlling the absolute amount control 31I of the amount of sound pressure applied to the body, an A-tio playback device can apply 4% of the sound pressure to the rest of the body, excluding the audio device that is only used with headphones. It is clear that the focus is on controlling the amount of sound pressure received by the listener, but since the primary purpose of the present invention is to obtain the same amount of sound pressure as in the natural state, the amount of sound pressure received by the body obtained by the above control is The change in the amount of sound pressure is
Natural 'J! , 'There is a point. Otherwise, in general τ
If you rely on your sensibilities with the graphic equalizer that is used, you will only find an effect that is no different from the sound quality control achieved by Kositrolling Snake.

In other words, the absolute amount of sound pressure applied to the body can be controlled to either obtain the same amount of sound pressure applied to the body as natural hearing, or to change the amount of sound pressure applied to the body that has the same tendency as natural listening. need to point.

It seems like I'm repeating myself, but the control cannot simply be rolled according to the will of the person; it needs to be controlled accurately and quickly by taking advantage of some law of natural hearing.

The method for detecting the control No. 1g will be described below.

Area 18 is an area where the ears have good sound pressure sensitivity and the body has good sound pressure sensitivity. In other words, for sounds that can be felt by the ears in the band 8, this band can also be said to be a band in which the amount of sound pressure can also be felt by the body.

Also, if the sound in this area] 8 band is felt by the ears, but the sound pressure level is low towards the body, then natural hearing at a very close distance (sound played by speakers that gives a very artificial feel) This is the case), but if we assume that we will be listening to music in a hall, we can say that this is an impossible situation.

Therefore, the most appropriate idea as a way to eliminate this unnaturalness is the area! It is conceivable to use a signal obtained by 1:t by calculating the cumulative cap of the audio signal in the band 8.

Then, by automatically controlling the bullet to eliminate the amount of sound pressure on the body using the above signal, the sound source imprints on the listener and is transmitted at close range, which is not possible in a general performance venue. The amount of sound pressure felt by the body and the amount of sound pressure felt by the ears, which is one of the reasons why the sound source feels unnaturally close when playing with indoor speakers, is removed. By removing the discrepancy in area 18, it is now possible to simulate the reproduction of distant sound sources and diffuse sound sources, which has been considered difficult in the past.

Next, a method for automatically controlling changes in the amount of sound pressure on the body caused not only by diffuse sound sources □ but also by very close sound sources will be described.

It is well known that depending on the correlation between sounds entering both ears, it can be determined whether the sound is a diffused far-field sound source or a sound that contains a large amount of direct sound from an extremely close range.

For example, in FIG. 1, the sounding body located at a nearby position 4 delivers a lot of direct sound and a small amount of indirect sound to the listener. It (that is, the oh'i!qo signals in both ears that hear a lot of direct sound can be correlated by eliminating the time delay caused by the distance difference between the sound source and the left and right ears, which is caused by the orientation of the listener. High-pitched sounds can be accurately detected.

On the other hand, the sound source l located at a distant position 6 is an indirect sound.

Because it contains a large amount of diffused sound, no matter what operation you do, the correlation will be low.

Now, when detecting correlation, it is preferable to remove this band before detecting correlation, since natural sounds are in phase at wavelengths that are seven times longer than the interaural distance. Conceivable. Therefore, in this embodiment, 2
Area 17 mentioned in Fig. 53 is considered to be an unnecessary frequency band and has been removed.

As described above, if the stereo audio signal is intended to be listened to with both ears, correlation can be detected to varying degrees. Furthermore, the correlation can be easily detected by simply detecting the difference between left and right stereo audio signals corresponding to area 18 or area 9.

By using these detected signals to automatically control the absolute amount of the sound pressure sensation felt on the body, it is possible to imprint the localization of the stereo audio signal and achieve the most natural automatic control of the sound pressure sensation. .

FIG. 4 shows one embodiment of the present invention as a circuit.

First, the control system 1g based on the phase-open comparison passes the left and right channels of the audio signal 24 through the left and right correlation comparison unit 28 through the filter part 25 in order to cut out the area !7 in FIG. 3 while keeping the left and right channels independent. This part has the configuration of a ζ measuring device known as a binaural correlation coefficient measuring device, and the important point is that the calculation speed is sufficiently fast. be.

The signal calculated by the left and right correlation comparison section 28 is different from the conventional left and right audio signals, and is output as a DC voltage, and this signal is input to the amplifier section 30. This amplifier section 30 has a controller 29 that can freely vary the degree of amplification.

Next, the signal output from the amplifier section 30 is controlled by the control S
31-, enter. The controller 31 is a control part of an amplifier section 32 for automatically controlling the audio signal 24.
Based on the signal input manually from the amplifier section 30, the amplification degree in area I7 in FIG. 3 is changed, and the transmission frequency characteristics in other bands remain unchanged.

The control system based on left-right correlation comparison has been explained above, but it is unclear whether this system is further controlled.
, a fill portion 28 , and a controller 29 . The left and right channels of the audio signal 24 are added together by the mixer part 27, and only the area 18 in FIG. This controls the compensation of the control VIg signal caused by the left and right correlation comparison. Therefore, by providing this last-mentioned control, it is possible to suppress the 19 degree increase in width in area 17 when the left-right correlation is low and the sound source is detected to be far away, but the sound is only in the high range. In addition, when dealing with multi-mirror audio signals with relatively little change in left-right correlation, or when dealing with monaural audio signals, the above II control signal based on left-right correlation comparison becomes Therefore, the control signal that has passed through the filter part 28 becomes the center of control, making it possible to balance the sound pressure sensation even with such a low level audio signal.

(Effect of the invention) The present invention has the following excellent effects.

(b) In the above method of varying the influence of the sound-deadening member by placing the sound-deadening member between the listener and the speaker, it is possible to achieve a balanced sense of sound pressure. It is an essential condition that it be placed in
In addition to the balance of the sound pressure sensation, in order to change the balance from moment to moment, the silencing volume of the silencing effect produced by the above-mentioned silencing member is varied using special equipment. It was necessary, so I was under pressure.

In the present invention, since the audio signal transfer function in area 17 is automatically controlled to reduce the absolute amount of sound pressure sensation, it is no longer necessary to place the above-mentioned sound deadening member near the face. It was.

(b) Conventionally, there was an overtone generator called an octaver.
Ode (There was a hidden machine that created a signal one octave lower than the low frequency 1B of the 1s, and depending on the program source, there were cases where the sound pressure balance changed by chance, but eventually However, the method of adding a signal that does not originally exist in the program source goes against the theory of original sound reproduction, and in fact gives an artificial feel.

The present invention is directed to the area lil? , 19, the transfer function of the audio signal corresponding to area 19 is automatically controlled, and therefore no signal that does not exist in the program source is added.

Therefore, you can enjoy natural sounds without any artificial sound.

(c) Although it does not exist in the original sound field, there is no device or method that can simulate the natural balance change between the sound pressure sensation felt by the ears and the sound pressure sensation felt by the body, and the sound pressure sensation balance change does not exist. (With conventional audio devices other than U>, the sound pressure balance changes or the sound pressure balance collapses!
The sound reached the receiver, and therefore, the natural balance of the original sound J4 was not felt, and there was an unnaturalness to it.

In the present invention, the change in sound pressure balance that occurs between the diffuse sound field and the non-diffuse sound field of the original sound field is detected by correlating and comparing the left and right signals of the stereo signal corresponding to areas +8 and +9ζ. Areas that are highly related to the generation of sound pressure sensations when music is assumed to be tm<sound field +8. A control signal is obtained by using a signal obtained by calculating the cumulative amount of audio signals in .

On the other hand, the body's sensitivity to back pressure is good and the ears are compatible! By controlling the transfer function of the audio signal in at least part of the frequency band area 17, which is a frequency band with poor sensitivity, by controlling the transfer function of the audio signal using the above-mentioned control signal, it is possible to We have created a device that allows you to simulate the natural balance change between the sound pressure sensation felt by your ears and the sound pressure sensation felt by your body, and the change in the sound pressure sensation balance. Therefore, the above (a),
Even with conventional audio devices other than (0), it is now possible to change the sound pressure sensation balance or control the sound pressure sensation balance.

(d) In the past, quantitative sound pressure balance was possible by lifting the ultra-low range using a graph ink equalizer, etc., but the boundary of the low range was always raised. As a result, the sound of the audio signal that matches the adjusted frequency band is indiscriminate (loud, imprinted with natural sounds, chaotic, and with little variation, resulting in a reproduction that feels unnatural to the ears and body). It was becoming a sound.

In addition, the low-frequency noise of the audio signal that matches the adjusted frequency band is always present on ■ and the body! It is known that ultra-low-frequency noise, which can result in creaky, noisy playback sound, can play a role in helping balance the sound pressure sensation, depending on how it is used.

In the present invention, the control signal controls the change in the sound pressure balance that occurs between the original sound field, the diffuse sound field, and the non-diffuse sound field.
A signal obtained by comparing the correlation between the left and right signals of the stereo signal corresponding to +9 is used. In other words, the sound source J! Changes in sound pressure sensation that have a clear causal relationship with proximity and diffusion are described in 1-1, and orderly IL/I control signals are obtained by correlation comparison operations.

Or, assuming the sound field where you normally listen to music, areas that are highly related to the generation of sound pressure sensations when smoking! The signal obtained by calculating the cumulative amount of audio signals in 8 is used.

Hereinafter, if the absolute amount of sound pressure in area 17 is controlled using the two types of control signals L, both can be used in cases where the perceived sound pressure is originally low, for example, when the contrapass stops sounding and only the high range When the sound is playing, it prevents the ultra-low range from being expanded meaninglessly, and you can escape from the persistent playback of the ultra-low range, and also prevent the ultra-low range noise from constantly sounding. Freed from annoying phenomena.

(n) Conventionally, the standard sound pressure balance was achieved by improving the ultra-low frequency range using a graphic equalizer, etc.
Although it was possible, the following problem occurred due to the sharp rise in [+tr(range C;)].

In music where the sound pressure balance is expected to fluctuate greatly, for example, when considering the performance of a contrapass and insect sounds, conventionally, in order to fully express the sound pressure sensation of the contrapass, the ultra-low range was If you shift up enough, then
When the scene changed to only the sounds of insects, the sound pressure balance caused an imbalance where a large amount of background noise and sound pressure were felt, even though the scene should have been properly balanced only to the ears. . Also, when adjusting the amount of ultra-low frequency control to match the sound pressure balance of insect sounds, it is obvious that contrabass sounds unsatisfactory (1)), and as mentioned above, the sound pressure balance changes greatly. There was no way to change.

Also, from the above, one would naturally think that it would be better to record without background noise in the ultra-low range, but in general, more than 90% of spaces where music is enjoyed are made up of background noise in the ultra-low range. It is normal and normal for there to be enough. If you always record without background noise in the ultra-low range, the disadvantage is that the slightly longer intervals between sounds will always create an uneasy feeling, like being on the top of a mountain. .

Background noise can also be said to be an important piece of information that represents a factor in the hall, so it would be a bad idea to limit it.

In the present invention, the left and right signals of the stereo signal corresponding to +7 +e and +9 are correlated and compared to detect the change in the sound pressure balance that occurs between the diffuse sound field and the non-diffuse sound field of the original sound field, and , a control signal is obtained by using a signal obtained by calculating the cumulative amount of audio signals in area 18 that is highly related to the occurrence of poor sound pressure in a sound field where normal music is listened to. .

On the other hand, the audio signal transfer function in at least a part of the frequency band of area 17, which is a frequency band in which the body has good sound pressure sensitivity and the ears have poor sound pressure sensitivity, should be automatically controlled by the above control signal. As a result, we have obtained a device that allows you to simulate the natural balance change between the sound pressure sensation that confuses the ears and the sound pressure sensation felt by the body, which exists in the original sound field, and the change in the sound pressure sensation balance.

In other words, by using both of the above two control signals at the same time, even if it is detected by comparing the left and right program sources that the contrahas and insects are far away, the next area 18
When the amount of sound is small, the transfer function of area 17 is automatically controlled not to be relatively increased, thereby preventing the meaningless effect of increasing the transfer function of area 17 when only the voice is being heard. There is.

In addition, this makes it possible to reduce ultra-low-range background noise during recording.
There was no need to be nervous anymore.

(・−) One way to solve the problems described in (a) to (book) above is to create a natural sound pressure balance by relying on human sensitivity, for example by using graphic equalizer technology. It is possible to control the Audi No. 1η, but a; it is not stable and reliable;
The feeling of sound pressure changes from moment to moment. (The lance was something that no human could handle.

According to an uninvented invention, the control signal is a cumulative amount of audio signals;
Alternatively, it is obtained by comparing the correlation between the left and right signals, and therefore, it is excellent in terms of stability, focus and focus, and no fluctuation. He was also able to easily control the ever-changing sound pressure balance, which is something that humans cannot do.

(G) The above-mentioned automatic control is set to the R1 wavenumber band, which is at least a part of area 17, in the 1 to 1 wavenumber band, where the body has good sound pressure sensitivity and the ears have poor sound pressure sensitivity. There are two main effects.

One is that area 1 is the band where cognitive information has shifted from auditory information to information about sound pressure sensations captured by the whole body.
7 mission, and by setting area 17 as the automatic control band for the transmission frequency characteristics of the audio signal system,
Changes in the sound pressure sensation balance, which conventionally could not be obtained without intervening a sound deadening member near the listener, can be obtained by controlling the sound pressure sensation through air propagation.

Another reason is that vibration generators for experiencing simulated sound pressure are mainly used for
Utilizes close-range γ9 separation force that prevents sound from leaking outside. IIl, suspicion 411. = A vibration generator for RE experience loses its original effect unless it operates in a band with low sensitivity to the human ear.

In other words, the frequency band of Area 17 is an extremely suitable frequency band even without the vibration generator for the simulated sound pressure experience, and therefore, it is an effective frequency band for JL-tsu, according to the present invention. This has the effect of making it possible to use the program source obtained in common.

(H) Even if 8 in the audio signal is a sound that does not have an original sound, such as a synthesizer, when the sound vibration in area 18 is -, the transmission number in area 17 will be relatively large. Just like that! j control allows the sound source to be felt to be at a distance suitable for listening to music, so the above control effect can be recognized for any program source.

(S) The audio signal controlled by the audio signal transfer function automatic control device of the present invention can be widely enjoyed and can be used for all types of stereo other than the style of listening only with a J/AD fan. Therefore, it can also be used in public radio wave transmission processes such as FM broadcasting, and in this case the gold rate rQ1
The comparison is based on the benefits of large computers, etc. that are not available in ordinary households! Shite.

It is also possible to do so.

[Brief explanation of drawings]

FIG. 1 is an explanatory diagram. Figure 2 is a graph. Figure 3 is a graph. FIG. 4 shows one embodiment of the present invention as a circuit. In the figure, 1: sounding body, 2: microphone, 3: listener. 4: Position, 5: Position, 6: Position. 7: Line, 8 Ni line, 9 Ni line. lO Niline, 1: Area, 12: Area. 13: Area, 14 Ni Line, 15: U, In. 16: Line, 17: E11a, tS: J-Rear. 19: Area, 20: Area, 21: Area. 22: Area, 23: Displacement, 24: Audio signal. 25: Part of the filter. 26: Left and right correlation comparison section. 27: Part of the mixer. 28: Part of the filter. 29: All control device. 30: Amplifier section. 31: Controller. 32: Amplifier section.

Claims (1)

[Claims] 1. The transfer function of an audio signal in at least a part of the frequency band in which the ear has poor sound pressure sensitivity and the body has good sound pressure sensitivity is and an audio signal that can be automatically controlled by a signal obtained by calculating the cumulative amount of audio signals in at least a part of frequency bands in which the ear has good sound pressure sensitivity. Transfer function automatic control device. 2. The transfer function of an audio signal in at least a part of the frequency band in which the ear has poor sound pressure sensitivity and the body has good sound pressure sensitivity By the signal obtained by correlation comparing the left and right signals of at least some of the frequency bands with good sensitivity,
An audio signal transfer function automatic control device characterized by being capable of automatic control. 3. The transfer function of an audio signal in at least a part of the frequency band in which the ear has poor sound pressure sensitivity and the body has good sound pressure sensitivity is the signal obtained by calculating the cumulative amount as described above. , the audio signal transmission according to claim 1 or 2, wherein the audio signal transmission can be automatically controlled by a signal obtained by combining both of the signals obtained by the correlation comparison. Function automatic controller.