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
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 three-dimensional sound live mixing
6.3 Production of
10.2 multichannel sound (Type A)
6.4 Object-based
post-production system
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
7.4.4 Localization of phantom sound images in the elevation direction in an upper hemispherical sound field
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)
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