• International journal of advanced smart convergence
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• v.5 no.4
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• pp.21-25
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• 2016

Recent development in multi-channel surround is emerging in various formats to provide better stereoscopic and sound effects to consumers in recent broadcasting. The ability sound localize the sound sources in space is most considerable design factor on multi-channel surround system for human earing perception model. However, this paper propose the change of the sound localization according to the spacing of the speakers, which is not covered in the existing research focus on sound system design. Presently the sound system uses the position and number of the speakers to localize the sound. In the multi-channel surround environment, the proposed design uses the sound localization is caused by the directional characteristics of the speaker, the distance between the speakers and the distance between the listener and the speaker according to the directivity is required. The proposed design is simulated using virtual measurement with MATLAB simulation environment and performances are measured.

• Proceedings of the Acoustical Society of Korea Conference
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• spring
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• pp.81-84
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• 2004

In this paper, we propose a virtual sound localization algorithm which improves the sound localization accuracy and sound color preservation for two channel and multi-channel surround speaker layouts. In conventional CPP laws, the sound direction is different from the panning angle and the sound color is different from real sound source especially when the speakers are spread out widely. To overcome this drawback, we design a virtual sound localization algorithm using directional psychoacoustic criteria (DPC) and sound color compensator (SCC). The analysis results show that in the case of the proposed system, the sound direction is the same as the panning angle in the audible frequency range and the sound color is less deviated from a real sound source than the conventional CPP law. In addition, its performance is verified by means of subjective tests using a real sound source.

• ETRI Journal
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• v.30 no.4
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• pp.606-608
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• 2008

MPEG Surround has a potential clipping problem since its encoding is based on downmixing a multichannel signal. We propose a clipping prevention scheme for MPEG Surround, which is composed of modification and recovery processes of a downmix signal with recovery information conveyed in arbitrary downmix gains of an MPEG Surround bitstream. Experiments show that the proposed scheme effectively prevents sound quality degradation caused by clipping problems with negligible additional bit rates.

• The Journal of the Acoustical Society of Korea
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• v.30 no.6
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• pp.337-343
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• 2011

With commencing trial 3D digital broadcasting, the studies on next generation digital broadcasting technology for coming UHDTV era is being actively progressing. In this paper, I propose surround audio formats for next-generation digital TV broadcasting, along with comparative study of major surround audio formats in use or under development. I did comparative study on current major competing surround formats such as Dolby True HD and DTS HD MA, along with NHK proposed 22.2 channel surround format for UHDTV system. Upon this comparative study and our housing situation consideration, I propose lossy compression 3D surround 7.1 channel surround format along with loosless 2.0 and 4.0 hi-fi format as next generation digital TV broadcasting standard. In lieu with this, I also propose transmitting binaural 2 channel audio data as sub-audio. It will give holographic sound experience when properly processed with individual HRTF (Head Related Transfer Function) with headphone. The table for data rate of each proposed audio format is also presented.

• Proceedings of the IEEK Conference
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• 2006.06a
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• pp.241-242
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• 2006

MPEG Surround is an audio coding technology that represents multi-channel audio signal with downmixed audio signal(s) and very low bitrate side information based on Binaural Cue Coding. The side information consists of Inter-Channel Level Difference, Inter-Channel Correlation, and payloads. These two parameters are correspondent to the well-known spatial parameters in psycho-acoustics, Inter-aural Level Difference (ILD) and Inter-Aural Cross Correlation (IACC). Though ICLD is to provide perceptually equivalent ILD to the listener, however, the ILD of the original multi-channel audio signal and that of the MPEG Surround encoded signal was different. The difference between two ILD values is defined as ILD Distortion (ILDD). This paper provides how ILDD can be applied to enhance sound quality in MPEG Surround and how much ILDD is decreased.

• ETRI Journal
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• v.38 no.5
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• pp.829-837
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• 2016

In this paper, we introduce extension tools for MPEG Surround, which were recently adopted as MPEG-H 3D Audio tools by the ISO/MPEG standardization group. MPEG-H 3D Audio is a next-generation technology for representing spatial audio in an immersive manner. However, considerably large numbers of input signals can degrade the compression performance during a low bitrate operation. The proposed extension of MPEG Surround was basically designed based on the original MPEG Surround technology, where the limitations of MPEG Surround were revised by adopting a new coding structure. The proposed MPEG-H 3D Audio technologies will play a pivotal role in dramatically improving the sound quality during a lower bitrate operation.

• Broadcasting and Media Magazine
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• v.2 no.4
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• pp.29-37
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• 1997

• The Journal of the Acoustical Society of Korea
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• v.28 no.7
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• pp.610-617
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• 2009

An overview of various modes and tools of MPEG Surround is provided Because the binaural mode of MPEG Surround supports the virtual 5.1-channel playback based on HRTFs, it can be played via headphones and earphones for portable audio devices. MPEG Surround also supports the enhanced matrix mode which converts stereo signals to 5.1-channel signals without side information, the 3D stereo mode which deals with 3D-coded signals, the low power version which greatly reduces the computational load in the decoding process. Besides, MPEG Surround provides the arbitrary downmix gains (ADGs) tool which is applied to artistic downmix signals, the matrix compatibility tool which is applied to downmix signals by conventional matrix-based methods, the residual coding tool -which can be used at high bit rates, and the GES tool which is applied to specific sound such as applause. The listening test results by various companies and organizations are also presented for important modes and tools.

• The Journal of the Acoustical Society of Korea
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• v.28 no.7
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• pp.599-609
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• 2009

An overview of the recently finalized multi-channel audio coding standard MPEG Surround is provided. This audio coding standard downmixes multi-channel signals to mono or stereo signals and, simultaneously, extracts spatial parameters for its encoding process. In its decoding process, it reconstructs multi-channel signals based on the downmix signals and spatial parameters. Since the downmix signals are coded in conventional audio coding format such as AAC and MP3 and the spatial parameters require a small amount of information MPEG Surround guarantees high sound quality multi-channel audio at low bit rates. Besides, it is backward-compatible to conventional audio coding techniques because the downmix signals can be played on portable audio devices ignoring the spatial parameter information. In this paper, Part 1 presents an overview of the basic structure of MPEG Surround and Part 2 describes various modes and tools including the binaural mode which supports the virtual 5.1-channel playback via headphones or earphones. The listening test results by various companies and organizations are also presented.

• The Journal of the Acoustical Society of Korea
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• v.28 no.1E
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• pp.29-34
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• 2009

MPEG4 High Efficiency Advanced Audio Coding (HE-AAC) and MPEG Surround are one of the most efficient combinations for low bit rate multi-channel audio coding. Based on the fact that these two codecs have identical quadrature mirror filter (QMF) analysis and synthesis structures, we propose a dual-domain connection scheme for the codecs. Specifically two time-domain connection methods are analyzed and compared to the QMF subband-domain connection method. Experimental results show that both the time-domain connection methods cause no subjective sound quality degradation compared to the QMF subband-domain connection method, which verifies that one can select either of them depending on application scenarios.