JPS50127602

Patent Translate
Powered by EPO and Google
Notice
This translation is machine-generated. It cannot be guaranteed that it is intelligible, accurate,
complete, reliable or fit for specific purposes. Critical decisions, such as commercially relevant or
financial decisions, should not be based on machine-translation output.
DESCRIPTION JPS50127602
Description Cao 1, title of the invention 4-W recording and playback device. (1) Transmission
should be @ back! # A first stereophonic pair of directional microphones located at a first
determined distance from the scene and a second distance determined by ia more than the first
distance from the acoustic scene In a multi-channel radio broadcast and / or a recording and
recording apparatus for use with all four microphones closely coupled to a second stereo pair of
directional microphones, the second pair of microphone spacing p2 is a first pair Microphone
spacing! A sound recording apparatus characterized in that the size of the recording axis of the
second pair of microphones is much smaller than that of the recording axis of the first pair of
microphones. . (2) In the recording apparatus described in the above item (1), the distance d
between the two microphone pairs is 45 to 65 crn, preferably about 55071, and the diameter 1
is 15 to 2 ocrn, preferably about 17 crn, 65 -E2 is preferably 4 to 1 ocIn1 or preferably about 6
cm, α1 is 90 to 120 °, preferably about 110 °, and α2 is 30 to 9 o6, preferably or about 60
°. Characterized recording device. (3) In the multi-channel transmission system of sound, the
recording device is as shown in the above (1) or (2), and the acquired signals of the four
microphones are arranged in the front hemisphere of the listening space. Two electroacoustic
reproducers respectively reproduce, 10,000 regenerators close to the listening axis respectively
reproduce on the recordings of the microphones of the first microphone pair, and ten
regenerators far away from the take-up axis correspond to the second pair of microphones A
transmission method characterized in that each of the recordings is reproduced. (4) In the sound
multi-channel transmission system according to the above (3), wherein the third pair of
microphones 7 further away from the sound scene than the second pair is used, the distance
between the third pair of microphones is the second pair. A transmission scheme characterized in
that it is larger than the distance of the microphones, and the recordings of the third pair of
microphones are respectively reproduced by the auxiliary regenerators disposed on both sides of
the regenerator corresponding to the second pair of microphones. EndPage: 1
10-05-2019
1
2, the scope of claims
3. Detailed Description of the Invention The present invention relates generally to the art of
electroacoustic recording and reproduction using a multi-channel, ie, multiple channels or
individual electroacoustic system, all of which handle individual signals. The above techniques
are particularly applicable to the open sound method. Here, the open sound method is an
effective separation of the mixed signal without intentionally or completely mixing (ie, matrixing)
all or part of the processed signal at all times from recording to recording. Forbidden four
separate transmissions and / or one self recorded channel? The whole of the method and device
used. Those who are skilled in the art are those who listen to radio broadcasts or recorded
performances for several years, such as sound scenes (orchestras, singers, etc.) in front of
the listeners, or hopefully have a snatcher I tried to achieve by doubling the number of recording
channels or playing ho recordings and playing valley channels. From the practical point of view
(recording difficulties, size and complexity of the regenerator, pass band, availability of recording
carrier), the method currently available is limited to the use of four channels. By the way, is the
above method satisfactory? It is obvious not to give. The open sound method in the true meaning
mentioned above? In some schemes, it was attempted to separate as much as possible the
subtractive 9-8 generated acoustic signal. As will be understood later, the fc results that the
listener's impression is that the acoustic scene space is divided or constricted, and of course it is
an unpleasant one that destroys the intended illusion. In the other methods, partial mixing of
signals because of the above-mentioned inconvenience. Match (matrix)? ]-Done. In this case, the
compatibility with stereo (Nihon law) is far from perfect. In many cases, the results obtained are
more aesthetic and less credible than the effects obtained with the simple dichotomy method.
Use an individual channel, that is, do not know the condition of the not-permanent psychology
#heard (psycho-coustiq, ue) aspect of the child's separation formula. This mix was intended to be
recaptured by the matrixing of the transmission and / or reproduction audio j signal, and this
mixture was separated and collected by recording technology based solely on the idea of physical
sound. The listeners of the acoustic phenomenon reaching the acoustic phenomenon scarlet is
not useful at all VC VC congratulations. This is of course not a discussion of the "decoding"
scheme or apparatus' referred to as extracting from the open-sounding auxiliary information allbiphonic recording, which is said to be reproduced by phase shifting and mixing of both
channels. The object of the present invention is the use of one individual Qi tunnel.
Electric sound I # by the appropriate placement of the regenerator is more true than a simple
two-step method, powerful playback? And economic requirements with existing 3D sound
reproduction equipment? We speak in providing a method and apparatus for satisfying, truly
polyphonic, especially open sound recordings. The present invention? Explain and compare this
to the fil old rice formula, and so bring progress? Prior to the explanation, some of them are
already known, but other parts of the research conducted at the applicant's acoustic laboratory. .
10-05-2019
2
Let's define the subjective sound space first. Is this the listener? Where is it? Performance limits
or room limits? It can be considered as the origin of the coordinates of the geometric space to be
the limit. By the way, that acoustic perception to the listener? If it is located in one or more areas
related to the acoustic scene in the above space, and if the acoustic perception does not coincide
with the acoustic scene, we try to separate it from the origin area to some extent. A tendency to
do? It is recognized to have. That is, the listener applies the above-mentioned physical space in a
mind to a psychoacoustic space, which is referred to herein as a subjective acoustic space, and
the coordinates of the subjective acoustic space are objects that attract the attention of the
listener (acoustic Target or visual) is determined by "the place where it is perceived." For
example, in a performance room where the attention of the audience is captured both
acoustically and by visual VC by an acoustic scene, all auditory phenomena where the origin is
connected to the acoustic scene like echoes at the back of the hall are all for the audience It
seems that the sound scene, i.e. from the front. In a single room in the apartment, radio broadcast
or recorded live listening EndPage: 2 The listener is likewise a complete subjective acoustic space
drawing. Therefore, one of the purposes of this book is to assist the digging listener as much as
possible in the spatial effort as building in a literary history. Complete set of ideas in subjective
sound space 1 1? Let's clarify by reference. Listener O? The origin is fl, Id is the coordinate base
of the subjective space described above, and it is represented by a horizontal plane and a vertical
plane that intersects with the axis OX that coincides with the axis of the area of the acoustic
scene to which the listener 0 is directed . Notwithstanding the listener's attention and attraction
range to some extent, the listener's entire vertex shall be a circle. The word conic surface is taken
to be that of the floor in this case, for example a pyramid surface? Include \. Well, an acoustic
phenomenon that the listener thinks directly related to the acoustic scene? Whether the listener
is annotated with a face cone (aonedeprθθθnce) P, which is intended to be placed all inside
unconsciously, and within the face cone, if the listener has four or more orientations.
A distinction is made between a confirmation cone (conodevigilenca) V which changes as it is
fixed at various places in the writing scene. The width of the cones p and V can be evaluated as
the maximum value of the angular width of the inner cone according to the direction of the angle
の and the elevations xjo and 万 1jo which are both m1 of the reference vertical and horizontal.
Because the listener's acoustic perception and response are complex and diverse, the above
distinction may seem quite rough, but it is sufficient to support the discussion of F below. Is this
subjective sound space all listeners? Given that it is projected on a spherical surface and stuck on
a flat surface, its specificity is small but it can be conveniently dressed. The diagram so obtained
"C" is a diagram as shown in FIG. 2, in which the angular coordinates θ and ψ are shifted by
means of Mercator projection on the Cartesian axis of the drawing plane. General arrangement of
the sound scene (Orchestra box. The piano, opera scene) has a frontal area to be reproduced
larger than 9 in the horizontal plane rather than in the vertical plane and larger than 9 in the
upward direction than in the downward direction. For reference, correct three-dimensional sound
reproduction is necessary to create an approximate frontal area that falls within ring gap 1, and
10-05-2019
3
is it not individual? The audience of the present system using four channels in question is the
table ... 8 side 2 total? It is possible to reproduce. The above-mentioned pre-defined VC
attachment is the same as the subjective sound space as the auditory transmission and
reproduction system is the same as the subjective sound space in which the listener is structured
in the whole hole recorded at the reproduction site. 49. Present (7 must be like getting. That is,
are both subjective spaces the same area? It can be said that you must have the same attention to
the listener's attention. Here, for example, the characteristics of the sound field when listening
directly in the concert hall? We will analyze in a general way. The sound of the sound scene is
determined by the tone color from which the sound comes from the sound scene, the intensity,
etc., ie, the unevenness of the radiation and the time of its perception, in addition to any musical
norms. It can be characterized. The above time is not only related to the moment when the
listener's ear receives the sound. Since it cooperates subjectively with the elevation unevenness
and the time, it can be blinded that it is easy to identify it by the unevenness of its sound within
the sound of the hall wi which constitutes the knowledge 5t of the back. Is this a physical
distinction between direct sound and echo sound in the hall's old acoustics? There is no way to
apply it directly to the problem of acoustic perception.
From a subjective point of view, it tries to make a total distinction from the amount that can be
called the core of the acoustic phenomenon in the sound field that the listener feels at a given
moment. The nucleus is not just a sound scale coming directly from the sound scene, but also
involved in the primary reflection of the hole. This is a part of the sound scene and is a part of
the direct and lively listening mark R'er. Silver consists of reflection that will be perceived later, is
the impression of a broad environment? Gives an acoustic background effect that contributes to
bring about. In summary, the nucleus corresponds to the time window fenatretemporelle at
perceptual time t1 axis, and the quantity corresponds to the time window axially at time t21.
There is no interruption in continuity between these two time windows, and the two interfere
with each other. In the subjective space of the diagram of FIG. 2, it can be represented by the
surface N which is the height total feature corresponding to the nucleus t and the average time
□. The quantity is much wider than the win factor N which wraps the nucleus and is represented
by the area H with a thick gt2'i of average time. However, the beginning EndPage of the late
Otomu Shimochiwa: t2> tI, with 3 rounding time as the origin. Now, in a radical arrangement:
12i'i simply recalling, we can totally prove why the currently used true open methods do not give
satisfaction. For example, FIGS. 3a and 3b show two arrangements tk of microphones used for
open sound recording. An acoustic scene S and four directional microphones m-m, which are
generally heart-shaped, are placed in the hole A. 3a. In FIG. 4 the microphones are placed at the
corners of a square and their sensitive film is 7 'directed outward at that corner. The four
microphones may be integrated with the diffractive body (or head) C. In J3'b, the microphones ml
and m2a are mounted in the head 01 to form a stereophonic sound pair, and m2 & m4 are
mounted in the head 02 a second stereophonic sound pair j? I will. For example, the distance
between 17 crn ml and m2 is the same as the distance between m3 and m4 and the distance d
10-05-2019
4
between the two swords is the same. All of the sound sensing films are inclined obliquely, even in
the acoustic scene S? I'm facing. FIG. 30d and M43d show the arrangement of speakers (or a
group of speakers) for reproducing the recorded sound of each of the n microphones m1 to m4.
The four speakers h □ to h4 are connected to channels corresponding to the microphones m1 to
m4 respectively. The listener O shall be located approximately at the center of the hole B. In
Figure 3C, is the speaker inscribed in the room B, a rectangular corner? Occupy.
In factor 3d, the speakers are all located in the front hemisphere of the listener's subjective city
space. As for the microphone arrangement of FIGS. Correlating with any of the microphone
arrangements of FIGS. 3C and 3C does not give a truly satisfactory overall listening. Let's analyze
it by explaining all the impressions that can be felt. 3a−30! The combination of figures is
aesthetically 'worst'. Microphones m1 and m2 are paired with direct sound capture from sound
#scene day to create one stereophonic sound, microphones m3 and m4 are mainly another pair
to capture anti-sound from behind the hall? Configure. The listener experiences an unpleasant
impression of lack of unity sound in an acoustic scene in which the note e is divided into the
front speaker group and the rear speaker group located outside the pre-conical cone and
reproduced. Loudspeaker All in front as shown in Figure 3d 7'1. The above impression can be
alleviated. Groups h3'-hl + hI-hl and hl-h4 have the same number of pairs of stereophonic sound
pairs corresponding to stereophonic recording pairs m3-mz + mH-111z + Inz "" m4? So, if the
listener's attention deviates from the central pair, it tends to be biased to 10,000 on either side,
in which case the listener's effect is as if the sound scene moved suddenly? feel. Similar criticisms
can be made for the recording system of FIG. 3b, or in combination with the reproduction system
of FIG. 3c or the reproduction system of FIG. 3d. The two pairs of microphones lllll, m2 and m3m4 have the same spacing and point outwards in the same way. The space occupied by these
microphones is small. The receiver perceives a complex signal received from the speaker group
h1-h3 and the group h2-h4 from the speaker group h1-h3 in the case of both of the above
speaker arrangements. Is the impression a speaker comrade? It is similar to the impression given
by an overspread three-dimensional sound installation. The deficiencies of these systems of 32
traditional technologies are physical and psycho-hearing phenomena? Based on the unaware
direct sound and its reflection, the above scheme is intended to direct the listener's attention to
the front and back speakers of FIG. 3C or to the center and side speakers of FIG. 3d. It seems to
be derived from being drawn in the same way. Contrary to this, the recording method of the
present invention shown in FIG. 4 distinguishes the handwriting nucleus and the sound qIfit from
the viewpoint of psychology = hearing? Underlying, so that the attention of the @ speaker is
captured by the central speaker in FIG. 3d, ie the radiation from the central speaker which
determines the full orientation of the front cone substantially corresponds to the acoustic
nucleus, Make the radiation from the speakers correspond to the amount?
Aim. In the recording apparatus of the present invention, as shown in FIG. 3b, two pairs of
10-05-2019
5
directional microphones of directional microphones directed to 10,000 of the sound qi scene?
Although used, the microphone position and orientation parameters of these two swords are
quite different. A distance between 10,000 pairs of microphones close to one sound # scene 141
'k4. And, 't- 62 of the more distant one, and ☆ my pair of EndPage: open @ 4 crophone comrades
@? If α1 and ζ, the present invention will be less than 19 or less than 2 □ 紫 1 and will be
much smaller than ヘ. The arrangement t of the loudspeaker is the arrangement of FIG. 3 d. By
the way, the distance d between the two blades of the microphone is 45 to 65 crn, preferably
about 55 an. The distance H between the first pair of microphones is set to 15 to 20σ, and
preferably to 17crn. The opening angle α1 of the recording M-line of the first pair of
microphones is 90 to 120 ′ ′, preferably approximately l10 ′. The corresponding parameters
of the second pair are, for example, 4 to 1 QCm, preferably about 6 fractions, and the insects are
about 30 to 90 °, preferably about 60 °. The first parameter of the microphone is a parameter
adopted in the present invention for most of the music stereo recording. In the majority of cases,
it is preferred that the microphone directivity be heart-shaped, for reasons known to those of two
and to the trade. But if it is difficult to record, or is it a special effect? To get all or part of the
heart-shaped microphone? Alternatively, it may be replaced by a more directional microphone or,
conversely, an omnidirection microphone. The difference between the result obtained by the
above arrangement and the result given by the prior art arrangement considered as up-to-date as
shown in FIG. 3b is demonstrative. The impression given to the listeners selected as witnesses in
the number (b) test is the impression that the reproduction has progressed as compared to the
reproduction that is merely a three-dimensional sound, and the mere three-dimensional recurrent
described above is , The same as the impression given in comparison with monaural playback. In
terms of space, listening is defined in the same way as in stereo sound '11. However, the
environment was perfect. The reason 7 can be explained as follows. The previous microphone
pair m □ -m2 is useful for conventional stereo recording. A distant ten thousand trailing blade
pair mB-m4 actually captures the same note, or with a considerable delay A7, and even echoing?
Add more. This delay is the difference between the time represented on the subjective time
window corresponding to the sound amount and the sound amount 12-1.
It is necessary to have a delay beyond the limit, side speakers are itt? While making it feel that it
is radiating, it can be less noticeable to the listener's attention than the central speaker. The
reproduction is by its nature extremely sensitive to changes in the position parameters of the
rear pair of microphones m3 and m4. If this pair is too close to the front pair rc, it experiences
the same sound effects as found in the arrangement of FIG. 3b. If both microphones in this pair
are too close to each other, or its open! If it is too small, the reproduction of the side speakers
will be dry, and the feeling of the environment and air will be reduced. If both microphones 2 are
too far or open, it feels like a separation has occurred between the correct reproduction of the
central speaker and the soft reproduction of the side speakers, sound 4! [Scene loses oneness.
The data shown above for the various parameters d + -e1 + -e2sα1 and α2 fit virtually any
recording problem, but in the majority, the preferred value? It is advantageous to adopt.
10-05-2019
6
According to the trial, it is customary to place the loudspeakers in the front hemisphere of the
total telecommunications space. If you bring it behind the speaker 會 corresponding to the
microphones m3 and m4, you will experience the unpleasant separation impression mentioned
above. In this case as well, a comfortable impression can be obtained in such a way that the rear
speaker @m is not directly directed to the listener. Finally, the conditions that must be applicable
to a polyphonic device that uses four or more separate channels during testing that has been
obtained to implement the entire scheme of the present invention? I got it. It turns out that a
couple of m5-m5 pairings are arranged several to one behind the pair of microphones m3-m4.
Microphone "s-% s" Microphones get better than -m4 and the more pairs get farther and farther
away from the sound scene the best l15c results are obtained. For corresponding side speakers,
the distance of these speakers from the listening sa must also change in direct proportion to the
distance between the sound scene and the microphone pair.
4, Brief description of the drawings Figure 1 "Face front cone" and "confirmation cone" in the
text? It is a figure for demonstrating. EndPage: 5 FIG. 2 is a front view of the relationship
between the two cones 葡 drawn on a plane by means of a Mercator projection [ji] L. FIG. 3 a% d
is a schematic view of the arrangement of microphones and speakers according to the
conventional method. FIG. 4 is a schematic view of the microphone arrangement according to the
system of the present invention. H · · · · · · · · · · · · · · h. h2, 113. 14 ································································
Intervals between microphones III, a, m4 ......... Microphone N ... ... ... ... ... ... Nuclear ... ... ... ... ... Face
cone S ···················· Sound! # Scene θ ·········································································· 1910 EndPage: 6 FIG.
45. Kei l (Stilll ilj '+ 1 1 record tl + specification ITIill + (21 drawing 11 υ (3) 黍 訳 訳 ′ 1' τ 1 ')
1 s (4) priority l Translation: 41 + Ui (5) 1 mountain + 61, 1 li II Inventors, patent applicants and
agents (1) No inventor address Name (2) Special, f'l 'applicant address (resident) representative
渚Country 1'h (3) Agent EndPage: 7
10-05-2019
7