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  1. NTU Theses and Dissertations Repository
  2. 電機資訊學院
  3. 資訊工程學系
請用此 Handle URI 來引用此文件: http://tdr.lib.ntu.edu.tw/jspui/handle/123456789/94487
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dc.contributor.advisor洪一平zh_TW
dc.contributor.advisorYi-Ping Hungen
dc.contributor.author陳允玟zh_TW
dc.contributor.authorYun-Wen Chenen
dc.date.accessioned2024-08-16T16:19:18Z-
dc.date.available2024-08-17-
dc.date.copyright2024-08-16-
dc.date.issued2024-
dc.date.submitted2024-08-09-
dc.identifier.citation[1] Audinate. Dante ultimo - integrated networking for audio products. [Online], Aug. 2024. Available: https://www.audinate.com/.
[2] A. J. Berkhout, D. de Vries, and P. Vogel. Acoustic control by wave field synthesis. The Journal of the Acoustical Society of America, 93(5):2764–2778, 1993.
[3] K. Brandenburg, S. Brix, and T. Sporer. Wave field synthesis: From research to applications. In 2004 12th European Signal Processing Conference, pages 1369–1376. IEEE, 2004.
[4] S. Brix, T. Brix, C. Sladeczek, et al. Wave field synthesis for virtual prototyping in vr systems. In DS 58-4: Proceedings of ICED 09, the 17th International Conference on Engineering Design, Vol. 4, Product and Systems Design, Palo Alto, CA, USA, 24.-27.08. 2009, pages 345–354, 2009.
[5] S. Brix, C. Sladeczek, A. Franck, A. Zhykhar, C. Clausen, and P. Gleim. Wave field synthesis based concept car for high-quality automotive sound. In Audio Engineering Society Conference: 48th International Conference: Automotive Audio. Audio Engineering Society, 2012.
[6] Cycling ’74. Max 8 - interactive visual programming environment. [Online], Aug. 2024. Available: https://cycling74.com/products/max.
[7] D. de Vries and M. Boone. Wave field synthesis and analysis using array technology. In Proceedings of the 1999 IEEE Workshop on Applications of Signal Processing to Audio and Acoustics. WASPAA’99 (Cat. No.99TH8452), pages 15–18, 1999.
[8] European Broadcasting Union. SQAM (sound quality assessment material). [Online], Aug. 2024. Available: https://tech.ebu.ch/publications/sqamcd.
[9] J. Francombe, T. Brookes, and R. Mason. Evaluation of spatial audio reproduction methods (part 1): Elicitation of perceptual differences. Journal of the Audio Engineering Society, 65(3):198–211, 2017.
[10] M. A. Gerzon. Periphony: With-height sound reproduction. Journal of the audio engineering society, 21(1):2–10, 1973.
[11] J. Goebel. The EMPAC high-resolution modular loudspeaker array for wave field synthesis. Universitätsbibliothek der RWTH Aachen, 2019.
[12] IRCAM Forum. Spat - real-time spatial processor. [Online], Aug. 2024. Available: https://forum.ircam.fr/projects/detail/spat/.
[13] B. Klehs and T. Sporer. Wave field synthesis in the real world: Part 1-in the living room. In Audio Engineering Society Convention 114. Audio Engineering Society, 2003.
[14] A. Kuntz and R. Rabenstein. An approach to global noise control by wave field synthesis. In 2004 12th European Signal Processing Conference, pages 1999–2002. IEEE, 2004.
[15] A. Lapini, M. Biagini, F. Borchi, M. Carfagni, and F. Argenti. Active noise control for pulse signals by wave field synthesis. In 2016 24th European Signal Processing Conference (EUSIPCO), pages 883–887. IEEE, 2016.
[16] G. Leslie, D. Schwarz, O. Warusfel, F. Bevilacqua, and P. Jodlowski. Wavefield synthesis for interactive sound installations. In Audio Engineering Society Convention 127. Audio Engineering Society, 2009.
[17] T. Lossius, P. Baltazar, and T. de la Hogue. DBAP–distance-based amplitude panning. In ICMC, 2009.
[18] K. Marais and R. Foss. A comparative analysis of speaker and headphone-based immersive audio in vr and gaming applications. In 2023 Immersive and 3D Audio: from Architecture to Automotive (I3DA), pages 1–8. IEEE, 2023.
[19] V. Pulkki. Virtual sound source positioning using vector base amplitude panning. Journal of the audio engineering society, 45(6):456–466, 1997.
[20] T. Sporer. Wave field synthesis-generation and reproduction of natural sound environments. In 7th International Conference on Digital Audio Effects (DAFx-04), Naples, Italy, 2004.
[21] T. Sporer and B. Klehs. Wave field synthesis in the real world: Part 2-in the movie theatre. In Audio Engineering Society Convention 116. Audio Engineering Society, 2004.
[22] M. J. Strauß and P. Gleim. Application of wave field synthesis and analysis on automotive audio. In Audio Engineering Society Convention 131. Audio Engineering Society, 2011.
[23] UnityOSC. UnityOSC Library for Unity. [Online], Aug. 2024. Available: https://t-o-f.info/UnityOSC/.
[24] J. Woodcock, W. J. Davies, and T. J. Cox. Influence of visual stimuli on perceptual attributes of spatial audio. Journal of the Audio Engineering Society, 67(7/8), 2019.
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dc.identifier.urihttp://tdr.lib.ntu.edu.tw/jspui/handle/123456789/94487-
dc.description.abstract波場合成(Wave Field Synthesis, WFS)是一種精確還原聲場且不受聽眾位置影響的技術。在本研究中,我們製作了一條長180公分,由16個中高頻喇叭組成的陣列,並利用WFS技術計算所需的聲音訊號。我們進行了三項使用者研究,以評估聽者使用此系統時對音源位置的察覺與辨識能力。測試結果顯示,參與者在察覺音源左右移動時普遍比察覺前後移動更容易。在音源移動的辨識實驗結果中也顯示,參與者在大多數情況下能準確識別聲源移動的方向,但對較遠處的遠近距離差異會難以區分。此外,參與者對定點位置辨識差異所需的距離,會比音源移動的最小可覺察範圍更大,顯示聽者對移動的音源位置差異較為敏感。zh_TW
dc.description.abstractWave Field Synthesis (WFS) is a technology that accurately reproduces a sound field, unaffected by listener position. We constructed a 180cm long speaker array with 16 mid-high frequency speakers using WFS technology to calculate audio signal and conducted three user studies. Results showed that participants generally found it easier to detect sound source movements in the left-right direction compared to the front-back direction. Another study showed that participants were able to accurately identify the direction of sound source movement in most cases, but found it difficult to discriminate distance differences at greater distances. Additionally, the minimum distance required for participants to discriminate fixed positions is greater than the minimum perceptible range for moving sound sources, indicating that listeners are more sensitive to differences in the positions of moving sound sources.en
dc.description.provenanceSubmitted by admin ntu (admin@lib.ntu.edu.tw) on 2024-08-16T16:19:18Z
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dc.description.provenanceMade available in DSpace on 2024-08-16T16:19:18Z (GMT). No. of bitstreams: 0en
dc.description.tableofcontentsVerification Letter from the Oral Examination Committee i
Acknowledgements ii
摘要 iv
Abstract v
Contents vi
List of Figures viii
List of Tables x
Chapter 1 Introduction 1
1.1 Background 1
1.2 Motivation 3
1.3 Thesis Overview 4
Chapter 2 Related Work 5
2.1 Spatial Audio Techniques 5
2.2 Application of Wave Field Synthesis 8
Chapter 3 System Design and Implementation 12
3.1 Hardware 12
3.2 Software 14
Chapter 4 User Studies 18
4.1 User Study 1 19
4.1.1 Experimental Design 19
4.1.2 Procedure 20
4.2 User Study 2 21
4.2.1 Experimental Design 21
4.2.2 Procedure 24
4.3 User Study 3 24
4.3.1 Experimental Design 25
4.3.2 Procedure 25
Chapter 5 Results and Discussions 29
5.1 User Study 1 29
5.2 User Study 2 32
5.3 User Study 3 34
Chapter 6 Conclusion and Future Work 40
References 43
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dc.language.isoen-
dc.subject波場合成zh_TW
dc.subject喇叭陣列zh_TW
dc.subject聲源定位zh_TW
dc.subject聲源感知zh_TW
dc.subjectSpeaker Arrayen
dc.subjectSound Source Localizationen
dc.subjectWave Field Synthesisen
dc.subjectSound Source Perceptibilityen
dc.title基於波場合成的沉浸式聲音系統設計zh_TW
dc.titleDesign of an Immersive Audio System with Wave Field Synthesisen
dc.typeThesis-
dc.date.schoolyear112-2-
dc.description.degree碩士-
dc.contributor.oralexamcommittee林經堯;姚書農;王鵬華;康立威zh_TW
dc.contributor.oralexamcommitteeJin-Yao Lin;Shu-Nung Yao;Peng-Hua Wang;Li-Wei Kangen
dc.subject.keyword波場合成,喇叭陣列,聲源定位,聲源感知,zh_TW
dc.subject.keywordWave Field Synthesis,Speaker Array,Sound Source Localization,Sound Source Perceptibility,en
dc.relation.page46-
dc.identifier.doi10.6342/NTU202402096-
dc.rights.note同意授權(全球公開)-
dc.date.accepted2024-08-12-
dc.contributor.author-college電機資訊學院-
dc.contributor.author-dept資訊工程學系-
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