by eanrsmoIntegrated HRTF convolution module. Use the HRTF 3D SynthEdit module for binaural stereo positioning. The HRTF file used is public domain and was measured at the IRCAM.
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Most systems assume that the listener is situated in front of a flat plane and the sound source is located at a certain distance from the listener. This sounds plausible, but if we are to be completely accurate we must take into account the curvature of the earth and the actual distance of the source and the listener from the surface of the earth. This means that the listener is situated in a spherical volume (this is the classic [spherical] head-related transfer function) and the source is at a distance which is a multiple of the distance of the source from the listener. This calculation is hard work (in 3D) but this is where the HRTF synth comes into its own. The HRTF 3D synth uses sound source location calculations and is a bidirectional convolution. The convolution is a 2D convolution where the phase delay between channels is automatically calculated for you. You can choose from 8 to 64 or 256 impulse responses to cover 360 degrees of azimuth (yaw). The impulse responses can be free form (if you want to), rectangular or sine (for circular effects).
The HRTF 3D Synth is very flexible. Each impulse response can be used as the input to the HRTF 2D convolution or as an independent sound object. A HRTF 3D convolution is a perfect match for using multiple impulse responses from a library or as a single set of impulse responses.
A HRTF 3D convolution sounds so realistic that it can be used for film production. If you want your HRTF 3D convolution to sound realistic, then it is probably best to make it a sound object and apply it to a surface where you can see a point in the HRTF 3D convolution image. If the HRTF 3D convolution sounds too realistic, then it is probably better to use a post-processing filter, either free-form or directional (e.g. cardioid).
First, you need to import the impulse responses into the 3D Synth. Go to ‘file’ -> ‘Import’.
You can enter the impulse response as a reference or open the folder and enter the path to the *.HRTF file or double click on the *.HRTF file.
The impulse responses are stored on the computer with a 3D heading and a stereo location. You can see that in the 3D Synth window by clicking on the binoculars in the Audio Options tab.
The ‘Channel’ drop-down
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Create a convolution operator which applies the HRTFs created by the generic HRTF convolution module.
KEYCONV Description:
Convert a generic convolution operator to one which applies the HRTFs created by the generic HRTF convolution module.
KEYDISC Description:
Resample the HRTFs to the playback sampling rate.
KEYEXAM Description:
Test the convolution operator, by testing the impulse response (IR) with the default HRTFs created by the generic HRTF convolution module.
The power of the Convolution operator is the ability to sample the position at which sound is played and also the time for which the sound is played. With the Generic HRTF convolution operator you can sample different sounds at different positions in the 3D HRTF space. This allows you to simulate the sound of the same object at different points, or different objects at the same point in space.
Using the convolution operator you can sample any sound and position, and record that sound using the parametric EQ method.
In the HRTF Convolution module you have five settings.
In order to test the generic HRTF convolution operator
open the system console
press ‘ENTER’
type ‘conv -i -f hirf_inf/lsp.wamf’
press ‘TAB’ or use the up and down arrow keys to select the parameter from the menu
press ‘ENTER’ to apply the settings to the convolution operator
The convolution operator uses the HRTFs in the generic HRTF module. The generic HRTF module is typically used to test the ‘IR’ of the convolution operator. However, you can use the generic HRTF module in order to change the IRs or to change the IR to a different HRTF. You can create a different IR by removing a frequency response that was built in the module or by applying a different HRTF to the module. This is covered in more detail in the HRTF convolution module.
The Convolution module can also be used to create convolution operators. In this case the settings above are not relevant. However, to create a convolution operator, the inputs and outputs in the convolution operator should be connected to inputs and outputs in the Convolution module.
To create a convolution operator
Open the system console
press ‘ENTER’
open the HRTF convolution module
press ‘ENTER’
press
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HRTF 3D SynthEdit is a synth-style patch that creates binaural
effects and HRTFs from the same file. It takes as its input a
real-world measurement and then generates two 3D impulse responses
that behave like dynamic spatializer effects. These impulse
responses can be freely placed in the stereo field in a similar way
to panning. They are converted into mono outputs by binaural
cross-talk cancellation. The impulse responses are evaluated at
different azimuth and elevation angles and a full HRTF filter is
created with a 3D transfer function. The filter may be rendered
through any stereo rendering module, such as standard 3D audio
workstations.
It is used here as a workbench for testing and demonstration. See
the following tutorials for examples of rendering HRTF sounds:
It is a small editor that allows you to see the effect of an audio processing set of equations.
The equations are designed to create an effect like this:
If the sound is ambience, it has a slower decay over time; if it’s a sound
coming from a specific direction, it has a sharper decay over time.
To apply these equations you need to use the Decay and DecayRate (or DecayTime)
fields.
The equations are in reverse order. The first equation will make
the sound have a slower decay, the second equation will make the
sound have a sharper decay. There is a buffer, this is like
sampling a sound. So the first equation will take 3.5 s to decay
the sound, the second equation will do it in 1.6 s, and the
third equation will do it in 0.8 s.
All the equations are applied to the sound and the output is
mono, it is done in reverse order, so the first one will apply
the equation and take 3.5 s, and the second one will take 1.6 s
to get the result. Then the 3.5 s value is multiplied by the
buffer field, and that is applied to the output. The buffer is
set to a max length of 20 seconds to give you the feeling of
stereo.
If you open an existing file, the original sound will be there.
The buffer will start at the first frame and end at the last frame.
The equations are designed to do the following things
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