As for the real-time immersive sound recording and production for an orchestral concert amplified through a sound reinforcement system, how can a TV program be produced binaurally with real 3D ambience and audience capture, and potentially for the purpose of multi-platform distribution? This engineering brief describes innovative solutions applied at the 2020 Chengdu New Year Concert: a largely-spaced 3D microphone array for capturing hall ambience, named the LDK-Cube, with a process of Higher Order Ambisonics encoding and binaural rendering; and Time-Space-Energy-Equalization (TSEEQ), a novel concept which means optimizing time-space-energy composition, through an integrated process of spectral and spatial equalization/delay, timeline EQ/delay, and group delay, is first presented in this paper as an overarching principle for the solutions. The perception that sound reinforcement disarranges the recording, forcing broadcasting engineers to fall back on pre-recorded audience effects for years, has thus been subverted. Furthermore, binaural/transaural 3D encoded 2-channel recordings providing much better spatial perception, proved to be the future of the stereo, “bionic TSEEQ” is derivate thereof.
(See document for exact affiliation information.)
https://aes2.org/publications/elibrary-page/?id=20910
(537KB)
Click to purchase paper as a non-member or login as an AES member. If your company or school subscribes to the E-Library then switch to the institutional version. If you are not an AES member Join the AES. If you need to check your member status, login to the Member Portal.
