EP1017249B1 - Procédé et dispositif destinés à la prise de sons, à leur enregistrement et à leur restitution, et reproduisant la sensation naturelle d'espace sonore - Google Patents
Procédé et dispositif destinés à la prise de sons, à leur enregistrement et à leur restitution, et reproduisant la sensation naturelle d'espace sonore Download PDFInfo
- Publication number
- EP1017249B1 EP1017249B1 EP99402996A EP99402996A EP1017249B1 EP 1017249 B1 EP1017249 B1 EP 1017249B1 EP 99402996 A EP99402996 A EP 99402996A EP 99402996 A EP99402996 A EP 99402996A EP 1017249 B1 EP1017249 B1 EP 1017249B1
- Authority
- EP
- European Patent Office
- Prior art keywords
- sound
- recording
- fact
- microphones
- diffusion
- Prior art date
- Legal status (The legal status is an assumption and is not a legal conclusion. Google has not performed a legal analysis and makes no representation as to the accuracy of the status listed.)
- Expired - Lifetime
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Classifications
-
- H—ELECTRICITY
- H04—ELECTRIC COMMUNICATION TECHNIQUE
- H04R—LOUDSPEAKERS, MICROPHONES, GRAMOPHONE PICK-UPS OR LIKE ACOUSTIC ELECTROMECHANICAL TRANSDUCERS; DEAF-AID SETS; PUBLIC ADDRESS SYSTEMS
- H04R1/00—Details of transducers, loudspeakers or microphones
- H04R1/20—Arrangements for obtaining desired frequency or directional characteristics
- H04R1/32—Arrangements for obtaining desired frequency or directional characteristics for obtaining desired directional characteristic only
- H04R1/40—Arrangements for obtaining desired frequency or directional characteristics for obtaining desired directional characteristic only by combining a number of identical transducers
- H04R1/406—Arrangements for obtaining desired frequency or directional characteristics for obtaining desired directional characteristic only by combining a number of identical transducers microphones
-
- H—ELECTRICITY
- H04—ELECTRIC COMMUNICATION TECHNIQUE
- H04R—LOUDSPEAKERS, MICROPHONES, GRAMOPHONE PICK-UPS OR LIKE ACOUSTIC ELECTROMECHANICAL TRANSDUCERS; DEAF-AID SETS; PUBLIC ADDRESS SYSTEMS
- H04R5/00—Stereophonic arrangements
- H04R5/027—Spatial or constructional arrangements of microphones, e.g. in dummy heads
Definitions
- Sound recording is done by at least two microphones fixed in one position and one specific orientation and considered as "strategic" in relation to the source of his.
- the sounds coming from one of these two microphones, or from a set of microphones, are recorded on a track while sounds from the second microphone, or the second set of microphones, are recorded on another track, separate from the first.
- the recorded sounds are played back through at least two loudspeakers (or speakers) suitably placed and oriented.
- the binarity of any stereophonic system comes from the transposition to the sounds of the stereoscopy, first in date, itself based on the binocular vision of Man.
- stereophony contains its own limits by the simple fact that it reduces the number of sound sources to two offered to listen to the listener, themselves subject to the track limit without any possibility of a third dimension.
- the present invention relates to a process different from those known, based on the diffusion of very realistic sounds, that is to say close to reality, which supposes in particularly a strong "relief” and the presence of ambient sounds, corresponding to conditions of reality.
- the invention thus makes it possible to reconstruct, when listening, a space three-dimensional sound, including vertical levels and front and rear spaces compared to the listener.
- the subject of the invention is a method for processing sounds according to claim 1.
- the invention also relates to a device comprising a set of taking sounds and a broadcast system according to claim 6.
- Stereophony can only concern a plurality of sound sources or a distribution significant spatial.
- the recording of a symphonic orchestra on two tracks and the playback of the recordings of the two tracks by two speakers or two headphones would not really be of interest in itself if this stereophony did not constitute a powerful stimulus from the human brain that artificially reconstructs for the listener, by unconscious analogy of memorized memories, the atmosphere of a concert hall in which he attributes a depth and a width. Otherwise, the auditor would be content to hear the violins on the left and the double basses on the right, the other instruments distributing partially left and right, without any relief.
- This defect is inherent in stereophony and is particularly felt when the broadcasting takes place in a performance hall, in particular a cinema, when has speakers not only at the front, screen side, but also at the back of the room.
- the aim is to best give a feeling of sound space to the spectators by distributing the sounds so that the sound perception of a movement suggested in the image is as realistic as possible.
- the fixity of the microphones, the fixity of the sound sources and the fixity of the speakers acoustic have the effect of freezing all the sounds in an illusory volume because no difference in sound is perceived in relation to the pitch.
- the finished film includes a "picture tape” filmed live and a "soundtrack” formed by the superimposition of the original sounds including mediocrity, or even the absence, is compensated by the re recording in the studio.
- the invention proposes a new recording method which makes it possible to really create not a simple finished volume but a three-dimensional sound space immediately perceptible by a listener, transversely (from - ⁇ on the left to + ⁇ on the right via the immediate proximity), vertically (from bottom to top and vice versa ), longitudinally (from - ⁇ behind the listener to + ⁇ in front of the listener via immediate proximity).
- the invention makes it possible to make particularly lively recordings in providing listening conditions extremely close to what they should have been on site during check-in.
- the sound recording device is specific and the process is completely different from current processes since we can even show that it is contrary to all known recommendations.
- the recorded sounds are reproduced using headphones or speakers depending on listening conditions: in private, in public, from a disc, from a tape sound of a film, etc.
- a device in its simplest form. It includes an autonomous set of sound recording 10 formed of two microphones 11 and 12 rigidly joined by a rod 13 whose length is close to the straight line distance between the two ears of a common human being and who carries a plane longitudinal screen 14 having the best soundproofing qualities possible to best individualize the two microphones 11 and 12.
- the set 10 is integral with an operating handle 15 because it has no fixing member or immobilization.
- An electric cable 16 containing specific conductors for each of the two microphones 11 and 12 brings together the assembly 10 and a recording device 20 of any known type capable of differentiating the signals from microphones 11 and 12.
- we have schematized an assembly allowing the use of a cassette 21 symbolizing everything recording medium.
- the cassette 21 is then used as usual by reading in a recording device.
- sound reproduction 30 to which a headset 40 fitted with two headphones 41 and 42 is connected by a cable of any known type 43 containing conductors specific to each of the headphones 41 and 42.
- the set 1 is manipulated by a user from the position shown in the upper right of figure 1.
- the user can rotate, more or less quickly, the assembly 10 roughly along the axis of the handle 15, from the orientation drawn in solid line in the dashed orientation, as evoked by the double arrow F1.
- the microphone 11 is closer to the source A than the microphone 12 in an orientation and further away in the reverse orientation.
- the microphone 11 will remain the farthest two microphones compared to source A but the sound collected by microphone 12 will go first by increasing and then decreasing.
- the set 10 will be at the source A source, that is to say when the flat screen 14 almost completely hides the microphone 11, the sound reaching the microphone 12 will be clearly predominant and a small residual part of the sound original will be picked up by the microphone 11.
- FIG. 2 the possible movement of the assembly 10 has been shown above the source A, from a position of proximity at the bottom left to a position distant at the top right of this figure without change of orientation, which corresponds to a constant relative position of the two microphones 11 and 12 relative to the source A, unlike the example in Figure 1.
- each microphone corresponds to one of the earphones 41 and 42.
- the microphone 11 considered to be the right microphone corresponds to earphone 41
- microphone 12 considered to be left corresponds to earpiece 42.
- FIG. 3 shows a more elaborate embodiment of the device which, here, comprises in addition to the plane longitudinal screen 14, a plane transverse screen 17 which extends from one microphone to another, to determine a sonic space in front of the microphones 11 and 12 and a sonic space behind said microphones 11 and 12 because these, comforted by the longitudinal screen 14 differentiate only the right and left lateral spaces.
- This device provided with the same handle 15 as that of FIGS. 1 and 2, can be manipulated as already mentioned but, here, the movements of the assembly 10 make it possible to clearly differentiate the pre-eminence of the front sounds compared to the rear sounds and vice versa .
- the invention makes it possible to produce the longitudinal and transverse screens respectively in merging them into a sphere made of phonically insulating material because the laterality is marked by the insulating mass of the sphere considered transversely and the front-back differentiation comes from the insulating mass of the sphere considered longitudinally.
- This spherical assembly 50 must be devoid of any fixing member, unlike known devices, and the mobility to which it must be subjected, requires the user to have a means of identification front - rear and / or right - left.
- the assembly 50 Since, in addition, the assembly 50 must have an operating handle 15, it is advantageous to concretize the front - rear marking (from which it automatically results the correct positioning right - left of microphones 11 and 12) by giving the handle 15 an asymmetrical profile constituting a polarizer avoiding a reverse orientation of the one you want.
- the handle 15 is provided with a sheath 18 which is smooth at the back and serrated at the front.
- the microphone 12 is closest to the source A and therefore receives a flux maximum sonic, while the microphone 11 is exactly opposite source A and does not receives only residual sounds, notably due to echoes.
- microphones 11 and 12 are equidistant from source A and receive the same flux.
- the microphone 11 is closest to the source A and therefore receives a flux maximum sonic, while microphone 12 is exactly opposite source A and does not receives only residual sounds, notably due to echoes. This orientation is therefore exactly symmetrical to that of figure 4.
- Figures 7 to 9 are similar to Figures 4 to 6, but the assembly 10, if it rotates well always in the direction of the arrows F3, has a starting position in which the microphone closest to source A is microphone 11.
- the arrows symbolize the sounds according to the direction that the listener perceives but it is obviously impossible, on the plan of a sheet of paper, to represent the three dimensions of space.
- the listener hears sounds distributed from right to left, according to a panoramic front view, corresponding to the symmetrical orientation of the microphones 11 and 12 of FIG. 5, the virtual transverse plane of the assembly 10 having its front face arranged towards source A.
- the listener perceives sounds moving from left to right, substantially at constant pitch and whose feeling of proximity remains unchanged.
- Figure 16 there is shown an example of sound recording by means of a set 50, which is manipulated around the head of a panting dog, the listener then listening this taking of sounds, having the impression that the dog turns on itself and, according to movements of the assembly 50, moves away and approaches.
- the sound source is a musical instrument
- a magnetic tape broadcast by an acoustic enclosure can be re-recorded then placed in a different, artificial sonic space.
- the displacement of the whole assembly and the microphones it carries allows to vary differentially the distance, in all directions of space, of each micro in relation to the source and to present to this source, one of the two faces of the plane transversal virtual.
- the method of the invention can be used with several sound sources and no longer just one and when we record, for example, a symphony orchestra or a large jazz band, it is possible to make effects equivalent to those of zoom in optics, namely that without modifying the musical performance in any way, we can favor this or that instrument or one part of the orchestra over another.
- FIG. 17 we see a particular application of the invention which is illustrated by an example first of all providing sound recording studio 60, including a microphone 61 of any known type and which we have chosen here as being of monophonic type.
- the microphone 61 is connected by a conducting cable 62 to a recording device 63 which is here symbolized by a cassette recorder.
- the recorded cassette 64 therefore contains a so-called "initial” recording which can be qualify as "flat” because the sound recording in studio 60 was done in silence.
- the recording therefore only concerns words spoken in front of the microphone 61 or that music isolated from any atmosphere.
- the cassette 64 is placed in a reading device 65, as evoked by the arrow F4, connected to two speakers 66 and 67, the whole being located in a location 70 separate from the recording studio 60.
- the sounds broadcast by the signals are captured and then recorded.
- pregnant 66 and 67 contrary to all universally accepted principles that leave of the observation that the quality of the sounds collected is degraded by the characteristics of the reader, its vibrations and its imperfections, without counting the defects of the support recording or any extraneous noise existing in the place where this is done recording.
- the invention makes it possible, from this initial recording, to obtain a recording so-called "specific" stereophonic by means of a set 50, in a large room, such as a concert or performance hall, so that the specific recording adds to the orchestra the atmosphere and the reverberations of the room, the whole being enriched by the conditions for taking sounds specific to the invention.
- the assembly 50 is connected by a conductor 71 to a recording device stereophonic 73 by which one obtains a specific recording on a support that we have schematized here by a cassette 74.
- a room 75 which can be a studio, we place the recording medium initial 64 in a reader 76 (arrow F6) and the specific recording medium 74 in a reader 77 (arrow F7), both connected to a recording device 78 by conductors 79 and 80.
- This recording device can obviously be optimized by means specific devices such as multitrack recording devices, software using the so-called “D t D” technology, abbreviation of "Direct to Disk”, etc.
- This recording medium constitutes, after the specific processing of mastering, the master from which one can make as many copies as there is required, copies for commercial distribution.
- cassettes which have been represented in FIG. 17 can, in the reality, being recording media of all kinds, including soundtracks motion picture films or video cassettes.
- These recording media are intended for reading devices themselves any known type, associated with transducers such as headphones or speakers.
- enclosures arranged as explained higher: near the screen, on the sides and at the back of the room constitute a whole with performances unknown to date, in particular by the fact that the sound recording according to the invention makes it possible to restore a "sliding sound" when listening completely eliminating the sound hole effect, so it is now possible to circulate sounds from speaker to speaker without any discontinuity and, by Consequently, the use of multiple speakers is no longer reserved for the reproduction of fast, dazzling sounds, but also to slower sounds, such as the steps of a character approaching or moving away.
- the listener at his home listens to an orchestra as if he were alone in the concert hall, with the whole feeling of space and realism, but without the disadvantages of a large audience: repeated coughing, unwanted applause, etc.
- the sound levels of players 76 and 77 are adjusted so that the sound level of the initial recording is at a level that we consider as a reference level, while the sound level of the recording specific can evolve on either side of the reference level.
- the sound level of the recording specific ranges from - 5 to + 5, depending on the specific spatialization effect that we wish to obtain.
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- Health & Medical Sciences (AREA)
- Otolaryngology (AREA)
- Physics & Mathematics (AREA)
- Engineering & Computer Science (AREA)
- Acoustics & Sound (AREA)
- Signal Processing (AREA)
- Stereophonic System (AREA)
- Stereophonic Arrangements (AREA)
- Signal Processing Not Specific To The Method Of Recording And Reproducing (AREA)
Description
Cet auteur rappelle également que, s'agissant de musique orchestrale,... "si l'équilibre général de l'oeuvre a été obtenue par le preneur de son et cela grâce à un bon emplacement microphonique, toute intervention supplémentaire importante (niveau, corrections, différence de présence) sera ressentie comme une sorte de " pléonasme " sonore et perturbera l'attention de l'auditeur ". Et, plus loin : " Une solution consiste à utiliser des microphones cardioïdes disposés à 17 cm l'un de l'autre, leurs axes formant entre eux un angle de 110 °. Tous les calculs, toutes les mesures et les très nombreuses expériences comparatives se rejoignent pour prouver que ce système est le meilleur compromis possible. Il est connu sous le nom de système AB O.R.T.F. car mis au point dans le laboratoire d'acoustique de l'ex-O.R.T.F..
Naturellement, tous les systèmes d'enregistrement connus concernent des micros positionnés, fixés une fois pour toutes tant que dure l'enregistrement. A preuve cet extrait du même article : " ...dans le cas de prises de sons rapprochés, on constate un écartèlement de l'espace. Cet écartèlement est le même que celui que ressent un spectateur (sic) s'il s'approche de la même façon des sources sonores ".Le nombre de sources sonores étant toujours égal à deux et étant occupant une position fixe dont on ne peut les extraire, l'angle sous lequel l'auditeur perçoit les sons venant de ces deux sources varie selon la place qu'il occupe par rapport à elles et ... "La difficulté provient de ce qu'il n'est pas possible de demander à un auditeur de s 'approcher momentanément de ses enceintes acoustiques. Il faut donc trouver des moyens de créer des défauts au couple O.R.T.F. compensant son inadaptation à certaines situations. On peut ... soit faire pivoter le couple sur son axe afin de lui faire occuper une position intermédiaire entre le plan horizontal et le plan vertical ".
L'existence d'une position occupée montre bien, ici encore, que le couple est positionné et fixé.
Dans la publication du réseau Internet, à l'adresse http :\\www.stéreolith.ch, et intitulée "Stereolith® système" il est précisé que : "Lors d'un enregistrement stéréophonique, l'espace sonore est codé à l'aide d'une matrice à deux canaux (dipôles). Pour ce faire, on utilise par exemple un couple de microphones. Chacun des microphones fournit un signal qui, selon l'emplacement de la source sonore, sera légèrement différent. Cette faible différence est capitale. C'est d'elle uniquement que dépend la spatialité de l'enregistrement. Et plus loin: " En musique électronique moderne, l'indispensable espace sonore est produit en studio, au moyen de processeurs tridimensionnels (sic) spéciaux.
Cette même publication contient l'indication suivante à propos de l'écoute au moyen d'enceintes acoustiques : " En dehors du point idéal d'écoute, la reconstitution de l'image sonore par notre cerveau est impossible : les informations élémentaires manquent ou sont faussées. Ainsi, bien souvent, nous n'obtenons qu'une reproduction bicanal au lieu d'une reproduction stéréophonique ".
- un accessoire compris dans la fourniture du dispositif lui-même et qui est un " accessoire pour suspendre le microphone avec articulation par rotule. Poids total : environ 0,5 kg "..
- " une rotule pour montage sur pied ".
Le résultat recherché est la pureté des sons diffusés, obtenue par élimination des échos, bruits d'ambiance et sons de plein air.
Claims (15)
- Procédé de traitement de sons provenant d'au moins une source sonore et de restitution des sons traités au moyen d'un ensemble de prise de sons et d'un ensemble de diffusion,l'ensemble de prise de sons étant composé d'au moins deux micros dont la position relative est constante,l'ensemble de diffusion comprenant au moins deux éléments de diffusion,la au moins une source sonore est un enregistrement déjà effectué appelé enregistrement initial, cet enregistrement initial devant être diffusé par les éléments de diffusion dans un endroit, et un son résultant de cette diffusion correspondant à un son de l'enregistrement initial,on procède à une élaboration d'un signal de son spécifique qui correspond à l'enregistrement initial diffusé influencé par les caractéristiques acoustiques et phoniques dans ledit endroit,on effectue une diffusion finale par superposition du son de l'enregistrement initial et du signal de son spécifique.
- Procédé selon la revendication 1, caractérisé en ce que pour procéder à l'élaboration du signal de son spécifique:on procède à un enregistrement spécifique avec les au moins deux microphones,on déplace les au moins deux microphones ensemble par rapport au éléments de diffusion diffusant la au moins une source sonore,on utilise des microphones dont la position relative est constante.
- Procédé selon l'une des revendications 1 à 2, caractérisé en ce que pour effectuer la diffusion finale :on règle le son de l'enregistrement initial à un niveau sonore constant dit de référence eton fait varier le niveau sonore du son de l'enregistrement spécifique dans une plage qui s'étend continûment entre une valeur minimale et une valeur maximale situées de part et d'autre du niveau de référence.
- Procédé selon l'une des revendications 1 à 3 caractérisé en ce queon effectue plusieurs enregistrements spécifiques différents du son de l'enregistrement initial, en décrivant des trajectoires différentes avec les microphones d'un enregistrement spécifique à l'autre.
- Procédé selon l'une des revendications 1 à 4 caractérisé en ce queon effectue un enregistrement spécifique à une ou à un petit nombre de sources sonores, parmi un plus grand nombre pour réaliser plusieurs enregistrements particuliers, puison rassemble ces enregistrements particuliers sur deux pistes dont l'une comprend un assemblage de certains enregistrements spécifiques et l'autre un assemblage d'autres enregistrements.
- Dispositif comprenant un ensemble de prise de sons et un ensemble de diffusion,L'ensemble de prise de sons étant composé d'au moins deux microphones opposés et réunis rigidement selon un écartement proche de celui des oreilles d'un être humain courant, et par un écran d'isolation phonique intercalé entre eux,L'ensemble de diffusion comprenant notamment au moins deux éléments de diffusion,l'ensemble de prises de sons est solidaire d'une poignée de manoeuvre (15) et est dépourvu de tout autre moyen de fixation ou d'immobilisation,l'ensemble de prise de son est mobile.
- Dispositif selon la revendication 6, caractérisé en ce que la poignée de manoeuvre comporte une dissymétrie constituant un repère.
- Dispositif selon l'une des revendications 6 à 7, caractérisé en ce que un premier élément d'isolation phonique qui sépare les deux microphones est substantiellement plan.
- Dispositif selon la revendication 6, caractérisé en ce que il comprend un second élément d'isolation phonique perpendiculaire au premier qui s'étend de l'un des microphones à l'autre afin de déterminer un espace sonique avant et un espace sonique arrière.
- Dispositif selon la revendication 9, caractérisé en ce que le second élément phonique est constitué par un volume substantiellement sphérique et de dimensions extérieures proches des standards d'une tête d'être humain, ce volume constituant simultanément un écran de séparation des deux microphones placés en opposition sur ledit volume.
- Dispositif selon la revendication 10, caractérisé en ce que l'un au moins des éléments de diffusion (A - 66 et 67) est un appareil de rayonnement d'énergie acoustique dans l'espace environnant.
- Dispositif selon la revendication 6, caractérisé en ce que l'ensemble de diffusion comprend un lecteur d'enregistrements sonores et deux appareils (66 et 67) de rayonnement d'énergie acoustique dans l'espace environnant, écartés l'un de l'autre et correspondant à une voie droite et à une voie gauche.
- Dispositif selon la revendication 6, caractérisé en ce que l'ensemble de diffusion est disposé dans un local contenant un écran de présentation d'images, et cet ensemble comprend un lecteur d'enregistrements audiovisuels et plusieurs appareils de rayonnement d'énergie acoustique dans l'espace environnant, placés d'un part à proximité de l'écran et d'autre part latéralement à l'écran pour reproduire la voie droite et la voie gauche.
- Dispositif selon la revendication 6, caractérisé en ce que l'ensemble de diffusion est disposé dans une salle de spectacle contenant un écran de présentation d'images, et cet ensemble comprend un lecteur d'enregistrements audiovisuels et plusieurs appareils de rayonnement d'énergie acoustique dans l'espace environnant, placés d'une part à proximité de l'écran et d'autre part à l'opposé dudit écran, dans le fond de ladite salle, derrière des sièges destinés à des spectateurs.
- Dispositif selon la revendication 6, caractérisé en ce que l'ensemble de diffusion comprend un lecteur d'enregistrements sonores et un casque (40) muni de deux écouteurs (41 et 42).
Applications Claiming Priority (2)
Application Number | Priority Date | Filing Date | Title |
---|---|---|---|
FR9816738 | 1998-12-31 | ||
FR9816738 | 1998-12-31 |
Publications (2)
Publication Number | Publication Date |
---|---|
EP1017249A1 EP1017249A1 (fr) | 2000-07-05 |
EP1017249B1 true EP1017249B1 (fr) | 2004-07-21 |
Family
ID=9534768
Family Applications (1)
Application Number | Title | Priority Date | Filing Date |
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EP99402996A Expired - Lifetime EP1017249B1 (fr) | 1998-12-31 | 1999-12-01 | Procédé et dispositif destinés à la prise de sons, à leur enregistrement et à leur restitution, et reproduisant la sensation naturelle d'espace sonore |
Country Status (5)
Country | Link |
---|---|
US (1) | US6782104B1 (fr) |
EP (1) | EP1017249B1 (fr) |
JP (1) | JP2000209692A (fr) |
AT (1) | ATE271748T1 (fr) |
DE (1) | DE69918793T2 (fr) |
Families Citing this family (8)
Publication number | Priority date | Publication date | Assignee | Title |
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FR2852779B1 (fr) * | 2003-03-20 | 2008-08-01 | Procede pour traiter un signal electrique de son | |
US8634572B2 (en) | 2005-01-13 | 2014-01-21 | Louis Fisher Davis, Jr. | Method and apparatus for ambient sound therapy user interface and control system |
US20060222187A1 (en) * | 2005-04-01 | 2006-10-05 | Scott Jarrett | Microphone and sound image processing system |
CA2767988C (fr) | 2009-08-03 | 2017-07-11 | Imax Corporation | Systemes et procedes permettant de surveiller des haut-parleurs de cinema et compenser les problemes de qualite |
US10194239B2 (en) * | 2012-11-06 | 2019-01-29 | Nokia Technologies Oy | Multi-resolution audio signals |
EP3012650B1 (fr) * | 2013-06-21 | 2021-06-09 | SM Instruments Co., Ltd. | Capteur de poursuite de source acoustique mobile et procédé de fabrication |
US9602946B2 (en) | 2014-12-19 | 2017-03-21 | Nokia Technologies Oy | Method and apparatus for providing virtual audio reproduction |
US11608055B2 (en) | 2020-06-04 | 2023-03-21 | Nxp Usa, Inc. | Enhanced autonomous systems with sound sensor arrays |
Family Cites Families (11)
Publication number | Priority date | Publication date | Assignee | Title |
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DE1239355B (de) * | 1964-10-23 | 1967-04-27 | Heinrich Peiker | Mikrophonanordnung mit mindestens zwei Tragarmen |
GB1487847A (en) * | 1974-09-25 | 1977-10-05 | Ard Anstalt | Microphone units |
AT353102B (de) * | 1977-12-07 | 1979-10-25 | Eumig | Verfahren zur signalaufbereitung und ein- richtung hiezu |
US4742548A (en) * | 1984-12-20 | 1988-05-03 | American Telephone And Telegraph Company | Unidirectional second order gradient microphone |
US4658932A (en) * | 1986-02-18 | 1987-04-21 | Billingsley Michael S J C | Simulated binaural recording system |
US4819270A (en) * | 1986-07-03 | 1989-04-04 | Leonard Lombardo | Stereo dimensional recording method and microphone apparatus |
DE3840766C2 (de) * | 1987-12-10 | 1993-11-18 | Goerike Rudolf | Stereophone Aufnahmevorrichtung |
DE3843034A1 (de) * | 1988-12-21 | 1990-06-28 | Messerschmitt Boelkow Blohm | Mikrofonsystem zum bestimmen der richtung und position einer schallquelle |
US6005950A (en) * | 1994-11-15 | 1999-12-21 | Cuniberti; John P. | Recorder to instrument amplifier interface apparatus and method |
FR2742624B1 (fr) * | 1995-12-15 | 1998-02-13 | Polyscope | Systeme d'enregistrement audiovisuel |
US5793873A (en) * | 1996-07-07 | 1998-08-11 | Visual Sound Limited Partnership | Sound capturing method and device |
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1999
- 1999-12-01 EP EP99402996A patent/EP1017249B1/fr not_active Expired - Lifetime
- 1999-12-01 AT AT99402996T patent/ATE271748T1/de not_active IP Right Cessation
- 1999-12-01 DE DE69918793T patent/DE69918793T2/de not_active Expired - Lifetime
- 1999-12-28 JP JP11372472A patent/JP2000209692A/ja active Pending
- 1999-12-28 US US09/473,893 patent/US6782104B1/en not_active Expired - Lifetime
Also Published As
Publication number | Publication date |
---|---|
EP1017249A1 (fr) | 2000-07-05 |
DE69918793D1 (de) | 2004-08-26 |
JP2000209692A (ja) | 2000-07-28 |
US6782104B1 (en) | 2004-08-24 |
DE69918793T2 (de) | 2005-07-21 |
ATE271748T1 (de) | 2004-08-15 |
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