Policy on Intellectual Property Right (IPR)
1 Introduction
2 5.1 multichannel sound system
3 Basic requirements of multichannel sound systems beyond the
5.1 sound system
3.1 Basic requirements of the sound image
3.2 Basic requirement of sensation of a spatial impression
3.3 Basic requirement of listening area
3.4 Basic requirement of compatibility with existing sound systems
3.5 Basic requirement of live broadcasting
4 Multichannel sound systems beyond the 5.1 sound system under development
for broadcasting applications
4.1 22.2 multichannel sound system (system H specified in
Recommendation ITU-R BS.2051)
4.2 10.2 surround sound system (Type A)
4.2.1 Background
4.2.2 Highlights
4.2.3 The loudspeaker channel layout
4.2.4 Standardization
4.3 10.2 channel sound system (Type B)
4.3.1 Background
4.3.2 The loudspeaker channel layout
4.3.3 Recommended arrangement of 10.2 channel
4.4 Wave-field-synthesis
4.4.1 Object-based multichannel audio system
4.5 Object-based audio formats
4.5.1 Rendering and reproduction of object-based audio
4.6 Hybrid channel/object-based system
4.6.1 Introduction
4.6.2 System design in theatres and LSDI venues
5 Multichannel sound systems in use for home audio release media
5.1 DVD audio
5.2 SACD
5.3 BD
6 Multichannel sound programme production in studio for home audio
6.1 Production of 5.1, 6.1 and 7.1 channels
6.2 Production of 22.2 multichannel sound
6.2.1 Principles of three-dimensional sound mixing
Top layer
Middle layer
Bottom layer
6.2.2 22.2 multichannel sound post-production system
6.2.3 Examples of live mixing of three-dimensional sound live
6.3 Production of 10.2 multichannel sound (Type A)
6.4 Object-based post-production system
6.4.1 Object-based sound system with ADM metadata
Future developments will include expansion of the number of tracks for the bus
and I/O of DAWs and plug-ins, and conversion tools for ADM including dynamic
metadata.
6.4.2 Object-based post-production system with individual
audio object
6.5 Production of cinematic hybrid content
6.6 3D Virtual Microphone Systems (VMS)
6.6.1 The spherical microphonic probe
6.6.2 Typical uses of the spherical microphonic probe
6.6.3 Typical uses of the planar array probe
7 Quality performance of the multichannel sound systems
7.1 22.2 multichannel sound system
7.2 10.2 channel sound system (Type B)
7.2.1 Evaluation of directional audio quality
7.2.2 Evaluation of overall audio quality
7.3 Investigations into optimal speaker configurations for the
hybrid object/channel system
7.4 Further studies on quality performance relevant to multichannel
sound systems
7.4.1 Elevation perception of phantom sound images in the
frontal hemisphere
7.4.1.2
7.4.2 Elevation perception of phantom images in the
frontal side direction
7.4.3 Sensation of listener’s envelopment in an upper
hemispherical sound field
References
7.4.4 Localization of phantom sound images in the
elevation direction in an upper hemispherical sound field
References
7.4.5 Influence of listening position on directional
perception of frontal sound images in the frontal hemi-sphere
7.4.6 Summary of studies on loudspeaker configurations to
meet the requirements
8 Relevant documents concerning the multichannel sound systems developed
by organizations outside ITU
8.1 SMPTE
8.1.1 SMPTE 2036-2-2008, “Ultra High Definition
Television – Audio characteristics and audio channel mapping for programme
production”
8.2 IEC
8.2.1 IEC 62574 “Audio, video and multimedia systems –
General channel assignment of multichannel audio”
8.3 MPEG (ISO/IEC JTC 1/SC 29/WG 11)
8.3.1 MPEG-2 AAC (ISO/IEC 13818-7) and MPEG-4 AAC
(ISO/IEC 14496-3)
8.4 EBU
8.4.1 EBU TECH 3306-2007, “RF64: An extended File Format
for Audio”
8.5 Japan
8.5.1 Advancement
of satellite digital broadcasting