JP2000209692

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DESCRIPTION JP2000209692
[0001]
[Technical field to which the invention belongs]
[0002]
The present invention relates to a method and apparatus for reproducing audio space, and more
particularly, to a method and apparatus for reproducing natural feeling of audio space for sound
collection, its recording and restoration.
[0003]
[Problems to be solved by the prior art and invention]
[0004]
Audio recording and restoration in stereo has long been known.
Sound acquisition is performed by at least two microphones fixed at positions and orientations
that are considered as exact and "strategic" to the sound source.
[0005]
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The audio from one of these two microphones, or one group of microphones, is recorded on one
track, while the second microphone, or the audio from the second group of microphones, is the
first It is recorded on a different track, different from the one.
[0006]
The restoration of the recorded sound is performed by means of at least two loudspeaker
systems (or loudspeakers) appropriately positioned and oriented.
[0007]
The binary antagonism of any stereo system stems from a substitution in the sense of the
stereoscope, which is itself based on human binocular vision.
[0008]
However, although optical systems utilizing this binocular vision, for example, holograms,
bipolarized images or anaglyphs, reproduce the visual stereoscopic effect quite well (by virtue of
many tricks), Stereo systems are not like that because of the simplistic principle that humans
want all sounds of space to be heard from only two sources in a natural way.
[0009]
In other words, all the complex, three-dimensional distributed speech, including different levels,
is put together in a single plane that gathers the speaker system and at that single level.
[0010]
In general, we are satisfied with this simplification, because the human brain virtually
reconstructs the real space, which is inter alia due to the balance that it seeks between the
different sound sources The listener, therefore, feels like having, or rather having, a threedimensional effect.
[0011]
Three-dimensionality means three-dimensional, and it is not useful to extend it to the point that it
is not two-dimensional, and the possibility of the third dimension is totally as long as
improvement of sound reproduction is elaborate. Without it, it is easily understood that stereo
has its unique limitations, only by putting together the number of sound sources provided to the
listener's ear, which itself is constrained by the limitations of the recording track .
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[0012]
The following documents can be cited to locate the state of the art: * A.Laracine's article
published in "ZERO VU" magazine, pages 40, 42, 44, 46, 47 and 48: Stereo is only one process,
and the listener does not always find the possibility of a high degree of listening, but still the
essence, as well as most of its freedom and hence the listening comfort Find out.
[0013]
This author also takes up orchestral music and evokes the following: "If the overall balance of the
work was obtained by the detonator, and by the good location of the microphone, it's all
important Ancillary interventions (levels, corrections, differences in presence) will be perceived
as a kind of "joke" of speech and will interfere with the listener's attention.
And, later on: "The solution is to use unidirectional microphones which are placed 17 cm to each
other and whose axes form an angle of 110 ° with each other.
All calculations, all measurements and a large number of comparative experiments are in
agreement to prove that this system is the best compromise possible.
It is AB O. R. T. Known in the name of the F system, because before O. R. T. It is because it was
developed in the acoustic laboratory of F.
[0014]
Of course, all known recording systems are concerned with microphones which are arranged and
fixed only once as long as the recording lasts.
This excerpt of the article proves: "... in the case of sound collection near, a division of space is
identified.
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This division is the same as a spectator (as it is in the original text) feels as it approaches the
source.
"The number of sound sources is always equal to 2 and occupies a fixed position and can not be
extracted from it, the angle at which the listener perceives the sound coming from these two
sources varies with the position it occupies, "The difficulty stems from the inability to ask the
listener to approach the speaker system temporarily.
Therefore, O. R. T. We have to find a way to compensate for the inadequacies that make a fault in
the F's pairings.
It is also possible to pivot the pair about an axis in order to occupy an intermediate position
between the horizontal and vertical planes.
[0015]
The presence of the occupied position is again a good indication that the pair is located and fixed.
[0016]
At the address http://www.stereolith.ch and published on the Internet network entitled
"Stereolith [R] systeme", it is stated as follows: "When recording in stereo, audio The space is
encoded by a matrix of two channels (dipoles).
For this purpose, for example, a pair of microphones is used. Each of the microphones provides
slightly different signals depending on the location of the sound source. This small difference is
essential. The spatiality of the recording depends only on that. And then: "In modern electronic
music, the essential audio space is created in the studio by a special three-dimensional processor.
[0017]
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This same publication includes the following instructions for listening by the speaker system:
"Outside of the ideal listening point it is not possible to restore the audio image by our brain.
Basic information is missing, or they are twisted. Thus, frequently, instead of stereo reproduction,
only two channels of reproduction can be obtained.
[0018]
* Microphones published by Schoeps GmbH, Spitalstr. 20, 7500 Karlsruhe 41 (Germany) are
combined into a sphere based on the human head and constitute a set before being fixed in a
"strategic" location, a microphone The pair is described. "The new approach must take into
account the sound source and all the parameters that characterize its position determination. "So,
certainly, the problem is the immobile sound source, located at a certain place relative to the
microphone pair, which is immobile in itself. The technical peculiarity of this device is that the
angle of the sound collection is fixed at about 90 °, included in the parts of the device itself,
"jointed by the swivel, an accessory for hanging the microphone. Gross weight: Accessories about
0.5 kg ". "Rotator for assembly to the foot". It is clear that there is.
[0019]
Also, the spheres with two microphones exist by different variants, one of which is described in
patent document EP 0050 100, but all lead to an improvement of the structure of the spheres,
which makes it possible to It is intended to be as close as possible to the human head in the hope
of matching the listening conditions, but as noted above, the stereo limitations are its binary
antagonism, and thus each upstream of the recording track It is in the static state of the
microphone and stereo system located downstream.
[0020]
Patent document FR2290811 describes a device for capturing speech, for excluding sound that
is regarded as noise against which it wants to capture, this device is for only one or two devices
Depending on whether it contains only one or two microphones.
An example of the use of this device is the direct diffusion by a powerful loudspeaker without
recording of words spoken by one or two people in a moving vehicle. Another use of this device
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is the integration in telephones with loudspeakers.
[0021]
The result sought is the purity of the diffused speech, obtained by the elimination of echoes,
ambient noise, outdoor sounds. Patent document DE 1239 355 describes a device comprising
one foot and two microphones that are orientable to a medium fixed to the foot. This device is
therefore fixed and its microphone is able to move relative to where the device was placed.
[0022]
Patent document EP 0 018 699 6 describes a special construction of the microphone which
makes it possible to be very directional when placed in a precise place relative to the sound
source. Thus, the microphone is fixed, as with the device of document FR2290811, to avoid
ambient noise and echoes originating from the acoustic features of the place where the sound is
captured.
[0023]
* It should be noted that this document does not assume recording or diffusion of sound, as it is
limited to the structure of the microphone, and the description of FIG. 4 shows that the present
invention is a so-called "leased" car phone It seems to mean to be applied to
[0024]
[Means for Solving the Problems]
[0025]
The present invention relates to a method which is based on the diffusion of speech which is very
real, ie close to reality, which is different from the known one, which, among other things, has a
strong "three-dimensional effect" corresponding to real conditions and It assumes the presence of
ambient sounds.
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The invention thus makes it possible to restore a three-dimensional sound space, including the
vertical level and the space before and after the listener, in hearing.
[0026]
That is, means for solving the problems of the present invention are as follows.
[0027]
First, the sound collection set by the sound collection set, the recording medium and the diffusion
set for taking the sound originating from at least one sound source, the recording of the sound
and its restoration, the relative position is constant , The recording medium being of any known
stereotype, in particular having at least two tracks, consisting of at least two microphones, the
diffusion set being at least two elements such as earphones, loudspeakers or speakers In an
audio reproduction method including the following, two microphones called right and left
respectively perform sound acquisition simultaneously, and move these two microphones
together with respect to the sound source, and, in particular, Varying the distance and / or height
differently, that is, when one microphone is brought closer to the sound source, the other The
two microphones can also be left microphones in this way, and vice versa, with two microphones
serving as the sound source. On the other hand, the method of reproducing the audio space
characterized in that it can be approached or moved away simultaneously.
Second, the method according to the first one, characterized in that at least one of the sound
sources is an already performed recording called an initial recording.
Third, the mono or stereo initial recording is considered as close as possible and optimal as
possible by the loudspeaker, speaker box or similar, but not by the earphones, and the initial
recording Special recordings of the initial recording, diffused to the place to be played back, and
influenced by the acoustic and phonetic features introduced or present at said place, at said
place, Then, the reproduction of the initial recording and the special recording is performed, and
then the final recording is performed by superimposing these two restorations, the initial
recording and the special recording, respectively, in order to spread the final recording later. ,
The method described in the second. Fourth, adjusting the restoration of the initial recording to a
certain so-called reference sound level, the sound level of the special recording restoration is
continuous between the so-called minimum value and the so-called maximum value located at the
end of the reference level The method according to the third aspect, characterized in that it is
changed in an area that spreads out. Fifth, make special recordings with one or a few sound
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sources in many to realize special recordings, then collect these special recordings into two
tracks, one of which is a special The method according to the third aspect, characterized in that it
comprises a combination of recordings and the other comprises a combination of other
recordings. Sixth, the sound collection set, including the sound collection set, the recording
medium and the diffusion set, is face-to-face, tightly coupled according to the close spacing of it
to the human ear, and by the sound insulation screen inserted between them The recording
medium, consisting of at least two microphones, is of any known stereotype, in particular with at
least two tracks, the diffusion set comprises at least two such as earphones, loudspeakers or
speakers In the device containing the element, the microphone is shown to the sound source
either manually or indiscriminately of both of the two virtual planes extending from one to the
other and in any intermediate direction between these two extreme positions The sound
collection set is fixed so that it is always possible to move and / or direct And wherein the
immobilization device is not provided at all, the sound space of the reproducing apparatus.
Seventh, the sound collection set is characterized by having a mark that makes it possible to
distinguish each of two faces of a virtual plane extending from one of the two microphones to the
other. apparatus. Eighth, the apparatus according to the seventh, characterized in that the set is
integral with the operating grip with asymmetry which constitutes the marking.
Ninth, the apparatus according to the sixth, wherein a screen for moving two microphones apart
is substantially flat. Tenth, the apparatus as described in the sixth, characterized in that it
comprises an audio isolation element that extends from one of the microphones to the other to
define a front audio space and a rear audio space. Eleventh, the sound-insulative element consists
of a substantially spherical, external-sized volume close to the standard of the human head, this
volume simultaneously being located on two oppositely facing said volumes. The device
according to claim 10, characterized in that it constitutes an isolation plane of the microphone.
Twelfth, the apparatus according to the sixth, wherein at least one of the sound sources is an
acoustic energy emitting device in the surrounding space. Thirteenth, the apparatus according to
the sixth, wherein the recording medium is an independent type of record, magnetic tape,
compact disc and the like. Fourteenthly, the apparatus according to the sixth characterized in
that the type combined with the recording medium is a soundtrack of movie film or video
medium such as a cassette or a record. Fifteenth, the diffusion set is characterized by comprising
a player of a sound recording medium and two acoustic energy emitting devices in the
surrounding space, which are separated from each other and correspond to the "right route" and
the "left route". The device described in the sixth. Sixteenth, a diffusion set is placed in the
building containing the image display screen, this set being for the audiovisual recording medium
player and for playing the right and left routes, first near the screen and also for the screen A
device according to claim 6, characterized in that it comprises a plurality of acoustic energy
emitting devices in the surrounding space, which are laterally oriented. Seventeenth, a diffusion
set is placed in the theatre, including the image display screen, and this set is for the spectators,
in the back of the hall, facing the audio recording medium player and, first of all, the screen
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further The apparatus according to claim 6, characterized in that it comprises a plurality of
acoustic energy emitting devices in the surrounding space, located behind the seat of (4).
Eighteenth, the apparatus according to the sixth, wherein the diffusion set includes a sound
recording medium player and a headphone equipped with two earphones.
[0029]
The present invention and other supplementary features will be better understood by the
detailed description given below with reference to the accompanying drawings. Naturally, the
description and the drawings are given as reference examples and are not limiting.
[0030]
FIG. 1 is a schematic view of the invention, (G1) is a schematic view of the method and apparatus
according to the invention, according to a very simple embodiment, (G2) is the same as that of
(G1) FIG. 1 is a schematic diagram showing one of many possible stages of the method according
to an embodiment of the device.
[0031]
FIG. 2 is a schematic view of a more elaborate embodiment of the device according to the
invention.
[0032]
(G4) to (G6) in FIG. 3 are schematic diagrams showing the operation of the device according to
the method of the invention for the variable recording of fixed sound sources.
[0033]
(G7) to (G9) are schematic views similar to (G4) to (G6) showing another operation of the same
device according to the method of the invention for the recording of the same fixed sound
source.
[0034]
(G10) to (G12) in FIG. 4 are schematic diagrams showing the impression of changing voice felt by
the immobile listeners depending on the position of the device from (G4) to (G6).
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[0035]
(G13) to (G15) are schematic diagrams showing the impression of the changing voice felt by the
immobile listener, depending on the position of the device from (G7) to (G9).
[0036]
FIG. 5 is a schematic diagram showing a real-world sound acquisition in accordance with the
present invention.
[0037]
FIG. 6 is a schematic diagram showing the features of the invention including, in the surrounding
space, a recording of the sound energy emitting device, ie the sound emitted by the speaker
system here.
[0038]
Stereo can only involve multiple sources or a large distribution of space.
Symphony Orchestra recording on two tracks and restoration of two track recordings by two
speaker boxes or two earphones, this stereo is deep for the listener, by the analogy of the
unconscious memory of the stored memory There is in fact no advantage in itself, as long as it
does not constitute a powerful stimulus for the human brain that artificially reconstructs the
atmosphere of the concert hall, which gives it a sense of breadth and breadth.
Otherwise, the listener will be satisfied with listening to the other instruments, which are
distributed left and right, with the violin on the left and the contrabass on the right, without any
stereo effect.
[0039]
This drawback is stereo-specific and is particularly felt when using the speaker box not only in
front of the screen side but also behind the hall, when diffusion takes place in theaters, especially
cinemas.
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[0040]
In fact, the aim sought is to give the audience the sense of the audio space in the best possible
way, delivering the sound so that the perception of the sound of the motion evoked by the image
is as realistic as possible.
[0041]
Thus, if the object shown on the screen is an airplane coming from the front and flying above the
shooting camera, reproduction of the corresponding sound by the one or more speaker systems
located near the screen is to the audience You can't feel the realistic sense of flying above this
plane, which is above them in a cinema.
[0042]
With the speaker system on the side of the hall, from the front to the back, the recorded sound to
play the motor's roar passes through in a very fast sequence from the front to the back, so the
audience will continuously increase the sound Have an impression.
In fact, the audio jumps sharply from the front speaker box to the rear speaker box, which is
called "surround", but if the audio travels slowly, the audience not attentive will soon have a
single speaker box with audio. When passing from one to the other, you will be shocked by the
sense of the "hole of sound" that is the result of the stereo limitations themselves, and it is easier
to sense as the speaker boxes are separated from one another.
[0043]
When there are only two speaker boxes, it is natural to play the sound of an object moving from
left to right and from right to left.
In stereo, other than artificial and limited use of "panoramic" (simultaneous adjustment of the
strength of the sound directed to the two speaker boxes, one to decrease, the other to increase)
in the plane of the speaker box In fact, it is impossible to create the strictly "visual", ie fluid,
continuous movement effect.
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That limits the possibilities of recording, since they have to be satisfied by playing back the
sound located to the right or left, respectively, in a natural way.
[0044]
When recording complex chunks, it is the case of a symphony orchestra, but place and listen to a
speaker system that places the microphone in a precise place only once and fairly strictly plays
the audio recorded on the medium It must be established that this location corresponds to the
three vertices of the triangle, and the optimum effect is obtained when the sound waves of the
two loudspeaker boxes intersect in the space surrounding the listener's head.
[0045]
In addition, sound collection is always performed from a fixed microphone located at a place
considered to be "strategic", and the listener does not actually have the idea of a threedimensional space, but a brain that imagines a field of sound collection. It also has a threedimensional effect by
[0046]
In fact, the fixation of the microphone, the fixation of the sound source and the fixation of the
loudspeaker box have the effect of coagulating the whole of the sound in the volume of the sham,
because no difference in the sound relative to the height is felt .
[0047]
In stereo, there is no height.
[0048]
In the case of films, quite often, especially in noisy places: Accurately recording the actors'
conversations in public places with spoken voices, train stations with train and loudspeaker
announcement sounds, seaside with wave sounds etc. Is known to be impossible.
[0049]
So, in the silence, the same actor plays the same conversation, and there is an audio dubbing
consisting of re-recording in the studio while watching the silent film.
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Thus, the finished film is formed by overlaying the "image tape" taken directly and the original
sound, with the poor or absent being supplemented by rerecording in the studio. Includes audio
tape.
[0050]
Unfortunately, this method is very imperfect because it is totally unrealistic, because in reality
the words uttered in the situation will have quite different sound quality and the selectivity of the
human ear Because of this, human expression is something that seems to contain these words,
despite the noise.
The spectators are satisfied with the current sound, but as they use the laser disc, as the listener
has rated the recording of the music to 78 turns then 33 turns record, as there is no comparison
element It is very difficult to return to the previous hearing conditions now.
[0051]
The invention is not merely a finite volume, but transversely (passing close from right -.infin. To
right + .infin.), In height (from bottom to top and vice versa), longitudinally Allows you to actually
create a three-dimensional audio space that can be immediately perceived by the listener (while
passing closely from -∞ behind the listener to + ∞ in front of the listener) Suggest a new
recording method.
[0052]
Furthermore, the invention makes it possible to realize particularly lively recordings by
providing, during recording, a listening condition very close to that of live.
[0053]
The sound taking device is special and it can be shown that the method is contrary to all known
recommendations, so it is totally different from the current method.
[0054]
The playback of the recorded sound takes place in the earphone or speaker box according to
listening conditions: personally, public, from the record, from the audio tape of the film, etc.
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[0055]
By means of the invention it is possible, inter alia, to create effects that were not known until
now, by providing mobile sound effects from a single sound source recording.
[0056]
With reference to FIG. 1, one can see the device according to the invention in its simplest form.
It is close to the linear distance separating the two human ears in length and strictly by means of
a rod 13 with a longitudinal flat screen 14 with the highest quality of sound insulation to best
separate the two microphones 11 and 12 It comprises a free standing sound collection set 10
formed from two microphones 11 and 12 connected.
Furthermore, the set 10 is integral with the operating grip 15 because it does not have any fixing
or immobilizing device.
An electrical cable 16 comprising conductors specific to each of the two microphones 11 and 12
couples the set 10 to any known type of recording equipment 20 capable of distinguishing the
signals derived from the microphones 11 and 12.
Here, we have outlined a set that makes it possible to use a cassette 21 symbolizing any
recording medium.
[0057]
The cassette 21 is then connected, as usual, to a headphone 40 with two earphones 41 and 42,
to any known type of cable 43, which comprises a conductor specific to each of the two
earphones 41 and 42. , Used by the reader within the audio reconstruction device 30.
[0058]
Here, for the only sound source A indicated by the trumpet, the set 1 is operated by the user
from the position represented in the upper right part of FIG.
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[0059]
With little change in position within the space of set 1, the user is somewhat quick, grasping the
set 10 on the axis of 15 from the direction drawn by the solid line to the direction drawn by the
dotted line, double arrow F1 Can be pivoted as indicated by.
[0060]
Therefore, the microphone 11 is closer to the sound source A than the microphone 12 in a
certain direction, and is farther in the opposite direction.
[0061]
If the user moves the set 10 according to the arrow F2 on a stroke of approximately half a circle,
but without changing its direction, the microphone 11 is the other of the two microphones
relative to the source A. As it is, the sound collected by the microphone 12 is first gradually
expanded and then reduced.
When the set 10 is perpendicular to the source A, ie when the flat screen 14 covers the
microphone 11 almost completely, the sound reaching the microphone 12 becomes much more
dominant and the weak residual part of the original sound is It is captured by the microphone
11.
[0062]
In (G2), the possible movement of the set 10 on the source A without change of direction from
the near lower left to the far right in the upper right of the figure is shown, contrary to the
example of FIG. , Corresponding to the fixed relative positions of the two microphones 11 and 12
with respect to the sound source A.
[0063]
These changes in sound acquisition are not only possible because the set 10 includes the two
microphones 11 and 12 but also for the user by means of the flat screen 14 which is a simple
and effective embodiment of the orientation.
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[0064]
On the contrary, since the two microphones 11 and 12 are identical, for example by giving the
user a means of identification of the microphone by marking "right", "left" on or near them Is
desirable because it is understood that each microphone corresponds to one of the earphones 41
and 42.
The microphone 11 as the right microphone corresponds to the earphone 41, and the
microphone 12 as the left microphone corresponds to the earphone 42.
[0065]
The equivalent would consist, for example, of showing the front of the flat screen 14 behind it by
means of an arrow (not shown).
[0066]
In FIG. 2, here, in addition to the longitudinal plane screen 14, in order to define a sound velocity
space in front of the microphones 11 and 12 and a sound velocity space behind the microphones
11 and 12, for the longitudinal screen 14. They have shown a more elaborate embodiment of the
device comprising a transverse plane screen 17 which extends from one microphone to the
other, as they distinguish only the left and right lateral spaces.
[0067]
This device with the same handgrip 15 as FIG. 1 can be operated as already mentioned, but here
the movement of the set 10 can clearly distinguish the superiority over the speech behind the
previous speech Yes, and vice versa.
Here, it is important for the user to always know, without ambiguity, how the set 10 is oriented
in order to distinguish the two front and back faces of the transverse plane screen 17 Because
the sound recorded during the turn of the set 10 achieves an effect with a great result on the
listening sensation when recovering the recorded sound.
In this assumption it is understood that the listener listens to the voice in front of or behind him,
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depending on the side of the cross screen 17 directed directly to the sound source and the side
isolated from it by the screen 17.
[0068]
It can be seen in FIG. 2 that two flat screens 14 and 17 of the same length, height and height can
be incorporated into an imaginary sphere B close to the standard volume of a human head.
[0069]
However, it is known to have a sound-pickup device which consists of a pair of microphones
located facing up on a ball and provided with fixing means for so-called "strategic" positioning.
[0070]
The present invention marks the longitudinal and transverse screens respectively as the frontback distinction is derived from the insulating mass of the spheres, which are marked by the
insulating mass of the spheres whose laterality is made transverse. It can be realized by fusing
them into one sphere of material that is acoustically insulating.
[0071]
It is the example which is explained from this and expressed in (G4) to (G9) and FIG.
[0072]
This spherical set 50 does not have any fixing devices, contrary to known devices, but the
mobility to be followed requires that the user utilize front-back and / or right, left identification
means Be done.
[0073]
Furthermore, since the set 50 must have the operating grip 15, the front-rear marking can be
embodied by giving the grip 15 an asymmetrical shape that constitutes an anti-operational
device, avoiding the opposite direction to that desired. (From which the right and left precise
positioning of the microphones 11 and 12 is made automatically).
[0074]
It can be seen in FIGS. 1 to 2 and 5 that the grip 15 is provided with a smooth, fork-backed bag
18 at the rear.
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[0075]
In this way, the user intuitively understands that the front burr defines the position of the finger
that is aligned on the bag 18 (FIG. 5).
[0076]
In (G4) to (G6), a simple pivoting movement of the set 50 with respect to the sound source A is
shown.
[0077]
In (G4), the microphone 12 is closer to the sound source A, and thus receives the largest flux,
while the microphone 11 is exactly facing the sound source A, in particular the residual sound
originating from the echo Only receive.
[0078]
In (G5), the microphones 11 and 12 are equidistant from the source A and receive the same
bundle.
[0079]
In (G6), the microphone 11 is closer to the sound source A, so it receives the largest flux, while
the microphone 12 is exactly facing the sound source A, in particular the residual sound
originating from the echo Only receive.
This direction is therefore exactly symmetrical to that of (G4).
[0080]
It is possible to shift rather quickly from one of the directions of (G4) and (G6) to the other, but
eventually each microphone 11, 12 captures the voice of one crescendo and the other a
decrescendo.
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It is observed that the pivoting direction given by the arrow F3 causes the hand grip 15 to
transition from the left end to the right end by the lower part of the drawing, ie by the back of
the cross plane 14, that the sound of the cross section 14 By previous it is meant to reach the
microphones 11 and 12 continuously.
[0081]
(G7) to (G9) are similar to (G4) to (G6), but if the set 10 always turns in the direction of the arrow
F3, the microphone closer to the source A is the microphone 11 Have a departure position.
[0082]
Thus, the sound originating from the source A reaches the microphones 11 and 12 by the back
of the cross section 14.
[0083]
Now, referring to (G10) to (G15), the voices captured by the outlines of (G4) to (G9) are shown in
top view only in the head, the earphone 41 has its right ear, the earphone 42 It can be seen how
the listener is perceived by the listener wearing headphones 40 directed to cover his left ear.
[0084]
The arrows symbolize the speech according to the direction perceived by the listener, but of
course it is impossible to represent the three dimensions of space on the plane of a sheet of
paper.
[0085]
In (G10), the listener listens almost only to the sound captured by the microphone 12 of (G4) by
the left ear with the earphone 42 attached.
[0086]
In (G11), the listener listens to the audio distributed from right to left by the front panoramic
distribution corresponding to the symmetrical direction of the microphones 11 and 12 of (G5),
and the front of the virtual cross plane of the set 10 Is directed to the sound source A and
arranged.
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[0087]
In (G12), the listener listens almost only to the sound captured by the microphone 11 of (G6) by
the right ear with the earphone 41 attached.
[0088]
Assuming that the set 10 has been moved in the plane of the drawing, the listener feels the
sound moving from left to right, of almost constant height, with the sense of proximity remaining
unchanged.
[0089]
However, if the movement of the set 10 during sound collection carries the set 10 from bottom
to top or top to bottom, in addition to turning, the listener will feel the change in level completely
.
[0090]
Furthermore, if the set 10 is subject to an approach and remote movement to the sound source
A, the listener has a clear impression of the movement of the source relative to him.
[0091]
For example, one experiment showed that the listener felt the voice of the person approaching
him as if the person approached.
Placing the microphone as close as possible to the person's lips, asking the person to lower his
voice to a small tweet, and closing the note, the listener said that this person was really near him,
It has the impression that it is released towards the hole of the ear.
[0092]
All this is unknown to stereo.
[0093]
In (G13) to (G15), the listener first hears the voice to the right and then listens to move until the
voice can only be heard by the left towards the left, but here his head The reason is that the
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sound acquisition according to (G7) to (G9) shows the rear surface of the crossing virtual plane to
the sound source A, while moving behind.
[0094]
The experiment recalled above is even more impressive here, as the voice comes from behind the
listener and the sensitive person suddenly turns around thinking that a person really exists.
[0095]
Although FIG. 5 shows an example of sound collection by the set 50 operated around the head of
a dog dog, the listener then hears this sound collection, and the dog moves around him and
exercises the set 50. Have an impression of moving away or approaching.
[0096]
If the sound source is an instrument, it is possible to turn the set 50 around the piano to give a
completely new effect to the recording, and the reproduction becomes a recording with varying
strength, so it is unrealistic, so it's also surprising It gives the impression that there is no
movement of the piano, eg the flight of the piano on the listener.
[0097]
As a sound source, it is also possible to use a recording which is, for example, diffused from a
loudspeaker or audio tape and can be mixed with other special recordings.
[0098]
The magnetic tape diffused by the speaker box can be re-recorded and repositioned in a
different, artificial acoustic space.
[0099]
The method according to the invention makes it possible to create a true "engraving" of an audio
tape, since after recording the instruments one by one, it is possible to obtain the stereo effect
produced by the remote, approach and swivel on the as-fixed instruments. Do the mixing.
[0100]
Depending on the movement of the entire set and the microphone it carries, the distance of the
microphone relative to the source can be changed differently and in all directions of space, one of
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the two planes of the transverse virtual plane being this source Can be shown.
[0101]
Of course, the method of the present invention can be used for multiple sound sources, and not
just one, for example, when recording a symphony orchestra or a large jazz organization, it can
make the equivalent effect of a zoom in optics It is possible, that is, parts of an instrument or
orchestra can be prioritized over others without changing the musical finish at all.
[0102]
After making special recordings, combine them freely on the two recording tracks as desired by
the user, putting together the right and left recordings assigned to the right or left earphones
when listening .
[0103]
Referring now to FIG. 6, first of all, the special application of the invention will be illustrated by
way of an example assuming sound acquisition in a studio 60 including a microphone 61, of any
known type, here selected as mono type. Be
The microphone 61 is connected by means of a conductive cable 62 to a recording device 63
symbolized by a cassette recorder.
[0104]
The recorded cassette 64 thus contains a so-called "initial" recording, which can be described as
"flat", as sound collection in the studio 60 was performed in silence.
[0105]
The recording is thus only involved in the words uttered in front of the microphone 61 or music
isolated from any environment.
[0106]
The cassette 64 is arranged in the player 65 connected to the two speaker boxes 66 and 67, as
indicated by the arrow F4, all located at a different location 70 from the recording studio 60.
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[0107]
The universal recognition of the fact that the quality of the collected audio, apart from the
shortcomings of the recording medium, the noise present in the place where this recording is
made, is exacerbated by the facts of the player's characteristics, its vibration and imperfections
Contrary to the principle being described, according to the invention, the sound diffused by the
speaker boxes 66 and 67 is captured and then recorded.
[0108]
But here we use the set 50 described above in a natural or artificial place 70, possibly with an
acoustic effect, so this sound collection is symbolized by the operator by a long curved arrow F5
As well as moving the set 50 as well as the sound of the initial recording to that of the sound of
the initial recording, that is, not only the surrounding natural sound or the added sound, but also
the condition of the place 70 itself Voices, in particular, nearby obstacles: It is also possible to
add voices captured after reverberation on walls, ceilings, etc.
[0109]
For example, in the case of the initial recording of a symphony orchestra in the studio 60,
considering the real listening conditions in the real concert hall, you get the purest possible but
far-off, cold, flat voice as possible Be
[0110]
The invention makes it possible to obtain so-called "special" stereo recordings from this initial
recording by means of a set 50 in a large hall, eg a concert hall or theater, which adds the hall
atmosphere and reverberation to the orchestra The invention-specific sounding conditions enrich
everything.
[0111]
The set 50 is connected by means of a conductor 71 to a stereo recording device 73, whereby a
special recording is obtained here on the medium outlined by the cassette 74.
[0112]
Then, in the building 75, which can be a studio, the initial recording medium 64 is placed in the
player 76 (arrow F6) and the special recording medium 74 is placed in the player 77 (arrow F7)
but both It is connected to the recording device 78 by the conductors 79 and 80.
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[0113]
The two players 76 and 77 are synchronized to obtain a superposition of the initial recording
and the special recording, but this combination gives rise to a so-called "final" recording located
on the recording medium symbolized by the cassette 81. Let
[0114]
This recording device can of course be optimized by special means such as multi-track recording
equipment, software using a technology called "DtD" which stands for "Direct to Disk".
[0115]
This recording medium constitutes a master after special processing of mastering, and can copy
for sale from there as much as necessary.
[0116]
Of course, the cassette shown in FIG. 6 can in fact be any kind of recording medium, in particular
an audio tape or video cassette of motion picture film.
[0117]
These recording media are for the player itself of any known type combined with a transducer
such as an earphone or a speaker box.
[0118]
In the case of theaters, as described above, the speaker boxes located near the screen, on the
sides and behind the holes, completely eliminate the hole effect of the sound by the sound
collection according to the invention "sound smoothness" It is possible to reproduce the whole of
the diffusion with the performance that was unknown to date, since it is possible to reproduce in
the listening, and hence from now on, without any discontinuities, from the speaker box to the
speaker box It is possible to circulate the sound, so that the use of a large number of speaker
boxes is not limited to only fast and quick sound reproduction, but also for slower sounds like the
footsteps of people coming and going away Be
[0119]
With regard to the recording of music, it has now been found that it is possible to propose a
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recording in the studio that gives the feeling of perfect quality, as if done in a large concert hall.
[0120]
After all, the listener is at home, with a sense of perfect space and reality, as if alone in a concert
hall, but without the inconvenience of multiple audiences: without repeated coughs, poor
applause, etc. Listen to the orchestra.
[0121]
During final recording, the audio level of the special recording can change from end to end of the
reference level while the sound of the players 76 and 77 is such that the audio level of the initial
recording is considered to be the reference level Adjust the level.
In order to fix the idea, if the reference level is considered to be 0, the sound level of the special
recording will spread from -5 to +5, according to the special effects of the stereo desired to be
acquired.
[0122]
【Effect of the invention】
[0123]
According to the present invention, it is possible to diffuse very realistic or near-real speech
different from known ones, and it is premised on the presence of strong "three-dimensional
feeling" and surrounding sounds corresponding to real conditions. As aural, it is possible to
restore a three-dimensional audio space, including vertical levels and spaces before and after the
listener.
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