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Spatial music is composed music that intentionally exploits sound localization. Though present in Western music from biblical times in the form of the antiphon , as a component specific to new musical techniques the concept of spatial music ( Raummusik , usually translated as " space music ") was introduced as early as 1928 in Germany.
3-D audio (processing) is the spatial domain convolution of sound waves using head-related transfer functions. It is the phenomenon of transforming sound waves (using head-related transfer function or HRTF filters and cross talk cancellation techniques) to mimic natural sounds waves, which emanate from a point in a 3-D space.
MPEG Surround coding uses our capacity to perceive sound in the 3D and captures that perception in a compact set of parameters. Spatial perception is primarily attributed to three parameters, or cues, describing how humans localize sound in the horizontal plane: Interaural level difference (ILD), Interaural time difference (ITD) and Interaural coherence (IC).
With Windows 10, Microsoft introduced native integrations for spatial audio, allowing anyone to listen to simulated surround sound with even a cheap pair of headphones.
Other commercial formats include the competing DVD-Audio (DVD-A) and Super Audio CD (SACD) formats, and MP3 Surround. Cinema 5.1 surround formats include Dolby Digital and DTS . Sony Dynamic Digital Sound (SDDS) is an 8-channel cinema configuration that features 5 independent audio channels across the front with two independent surround ...
In the real sound localization, the robot head and the torso play a functional role, in addition to the two pinnae. This functions as spatial linear filtering and the filtering is always quantified in terms of Head-Related Transfer Function (HRTF). [14] HRTF also uses the robot head sensor, which is the binaural hearing model.
HRTF filtering effect. A head-related transfer function (HRTF) is a response that characterizes how an ear receives a sound from a point in space. As sound strikes the listener, the size and shape of the head, ears, ear canal, density of the head, size and shape of nasal and oral cavities, all transform the sound and affect how it is perceived, boosting some frequencies and attenuating others.
Ambisonics can be scaled to any desired spatial resolution at the cost of additional transmission channels and more speakers for playback. Higher-order material remains downwards compatible and can be played back at lower spatial resolution without requiring a special downmix.