What the EU-funded BINCI project does, is bring together all the various elements, from hardware and software to high class storytelling – all combined to 3 experimental productions, which will be implemented at and evaluated with visitors of 3 major museums in Germany, Spain and the UK. What is needed in addition to that, are software plugins for post-production, which enable the sound designer to control and mix the sound experience creatively.įinally, consuming 3D audio is done with headphones, which are ideally combined with head trackers, ensuring the sound reception mirrors the listeners’ movement through space. This rare and unusual arrangement of microphone capsules is also known as a tetrahedral array. More recently, ambisonic microphones have been developed, that house not one but four sub-cardioid microphones pointed in different directions. Effectively manipulating the origin of sound is really how 3D audio works. For example, if a car horn honks in your right ear, it takes slightly longer to reach your left ear – and the sound in your right ear will be louder than in the left. This architecture allows the microphones to pick up sound at slightly different times based on its origin. While people such as artist Janet Cardiff have been experimenting with 3D audio for some time, it had always been very difficult, time-consuming and expensive to engineer. In the past, the production of 3D audio required a mannequin head equipped with two embedded microphones – one in each ear cavity – to recreate an authentic binaural experience. Can you tell me more about how 3D audio works?ģD audio engages the listener by offering a spatial bearing that enables them to sense where they are relative to the noises around them. In a 3D soundscape, the origins of sounds can perceptibly move about the listener, locating the listener as if they were standing in a real-life environment. Here's a lightly edited version of that interview. I discussed the future with Eva Wesemann, Director of Creative Strategy EMEA at Antenna International and the world's leading authority on 3D audio in museums, in order to learn more about this audio revolution. The Consortium plans to launch a series of 3D audio pilots at museums across Europe later this year. But now a group of five companies have formed “The BINCI Consortium” in order to pioneer new tech tools that can turn 3D audio into a widespread phenomenon in creative industries like museums, virtual reality, and even podcasts. And given the rise of virtual reality, 3D audio is becoming more important than ever.ģD audio has been around for a while. All the fancy equipment needed is on the recording side, so you just need two channels to experience an audio reconstruction of a world that may never have existed. Try visiting the 3D audio barbershop below for an example. But once you start listening, a 3D audio experience turns a virtual adventure into a very real one. But 3D audio, or dynamic binaural sound, takes it all a step farther: It includes spatial information like depth and distance, and it imitates the resonance of your body - head, neck and chest - in order to create sound waves that replicate the exact location of a sound source in relation to the listener's body. And you know Dolby surround sound, which uses an array of speakers to give you sound sources from all over a room. You know stereo sound - it uses a left and a right channel to offer your ears a more well-rounded sound.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |