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Wave field synthesis: The future of spatial audio.

What is Wave Field Synthesis?

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Wave field synthesis - Wikipedia

Wave Field Synthesis (WFS) is a sound production technology designed specifically for spatial audio rendering. Virtual acoustic environments are simulated and synthesised using large numbers of loudspeakers. The innovation of this technology is that sound can appear to emanate from desired virtual starting points, and then move through space in many possible defined spatial pathways. The WFS system from The Game of Life consists of 192 speakers, which are arranged in a square formation of 10 by 10 meters. Within this formation sounds can be composed to move within this square space, however the interesting point is that it is also possible to move sounds outside of this loudspeaker square. So the question is what makes this phenomenon possible considering the loudspeakers are all physically directed inwards.

3. Wave Field Synthesis - Holophony

The manifest advantages of this solution means that the listener is no longer bound to a narrow sweet spot. Wave Field Synthesis restores the entire sonic field. Any change of the listener's position in the playback room causes the same change in perception as would the listener moving accordingly in the recording room. This marks true spatial audio reproduction! It would be never possible by the psycho-acoustic phantom source detection, because the source position migrates dependent on the listener's position. In contrast, the virtual acoustic sources, produced from a sufficient amount of elementary waves, provide the same behavior as real sound sources. The loudspeaker itself no longer remains as the reference point.

Wavefield Synthesis | Sound | Signal Processing

Wave Field Synthesis, also known as WFS, label a spatial audio reproduction procedure

Even so, the most important advantage of Wave Field Synthesis is hardly mentioned in all the scientific publications. In conventional audio all signal components, as the direct wave, first reflections and the reverberation, merge together inseparably in a common signal. Thus it remains impossible for the handling of each of these components in a different manner during playback. In Wave Field Synthesis, however, we synthesize all these components during playback. As a result, it becomes feasible to configure the time and level of each single component of the sound signal independently. The use of this advantage seems hardly possible in the data-based approach. However, breathtaking possibilities arise in the model-based procedure for this reason.

The Wave Field Synthesis principle is not limited to a plane. In principle, the procedure would be able to restore the sound field in all three room dimensions. Nevertheless, for the data-based solution, the available computing power for 3D audio was insufficient until now. Besides, populating all playback room walls with loudspeakers is hardly a usable approach in practice. In a search for a practicable solution, the developers were leaving the representation of the elevation level compromised. Reducing loudspeakers to a single line around the listener was an acceptable solution, already achievable in the nineties. Our detection in azimuth mainly works through time detection, which becomes reconstructed perfectly by the horizontal loudspeaker lines. Such solutions are possible today with hundreds of loudspeakers. Even so, the horizontal limitation remains clearly audible, especially in strongly damped environments. Other procedures, like Ambisonics or Vector Base Amplitude Panning (VBAP), have shown a really three-dimensional reproduction of the sound event is essential.

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Wavefield Synthesis - Download as PDF File (.pdf), Text File (.txt) or read online.

I present a new algorithm for calculating seismic wave propagation through a three-dimensional heterogeneous medium using the framework of mode coupling theory originally developed to perform very low frequency (f f ≥~0.25 Hz) applications at regional and local distances where the locked mode approximation is best utilized and which involve wavefields strongly shaped by propagation through a highly heterogeneous crust. Synthetic examples are shown for P-SV-wave propagation through a semi-ellipsoidal basin and SH-wave propagation through a fault zone.

Unfortunately, the sonic field in the recording room is not established from the direct wave front alone. The major fraction of the sound energy is contained in reflections. For true spatial audio, we cannot radiate the reflections alone from the main source direction, as is often done during conventional audio reproduction. The difference in direction of the first reflections concerning the direct wave starting point delivers the most important cues regarding source distance and distances of the recording room walls. The huge amounts of subsequent reflections, which compose the reverberation tail, are less important regarding the direction but provide information regarding the fine structure and properties from the recording room surfaces.

Wavefield Synthesis. 126 likes. The right place for chatting and posting about the WFS world.
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  • Wave field synthesis: The future of spatial audio.

    Wave Field Synthesis

  • Wave field synthesis: The future of spatial audio

    Dec 08, 2013 · Wave field synthesis, a great research tool for audio and surround sound.

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AES E-Library » Wavefield Synthesis for Interactive …

[feature] Wavefield synthesis (WFS) is essentially a means by which a soundfield can be reconstructed within a listening area using an array of loudspeakers, enabling faithful spatial reproduction. It represents an important but potentially complex advance over conventional loudspeaker stereophony, the topic having been presented and discussed at AES events for many years now. During this time the primary development team, based at the Technical University of Delft in the Netherlands, was working on the theoretical principles and proving the concept of WFS. In recent years the technology has experienced wider interest, and WFS is a key element of a recently completed European research project entitled CARROUSO. In this article we review concepts from a selection of recent AES papers arising from this work, showing how WFS ideas might be integrated into parts of an audio production chain, incorporating elements of object representation, conventional stereophony, and room compensation.

Four Audio | Wave-field synthesis

Announcement: DSP Seminar Friday November 13, 2009, 2:15pm

This week's DSP Seminar will feature two presentations: Grace Leslie, a Ph.D. candidate at UCSD, will discuss her recent work related to wavefield synthesis for interactive applications at IRCAM on the SAME project, , and Miriam Kolar, a CCRMA Ph.D. candidate will present an overview of her recent archaeological acoustics work at Chavin de Huantar, (abstracts follow). We will meet in the classroom at 2:15 PM.

Wavefield Synthesis Festival - We Are Public

Wave Field Synthesis, also known as WFS, label a spatial audio reproduction procedure. The principle no longer remains dependent on psycho-acoustic phantom sound source perception, like all conventional audio procedures. The soundfield is reconstructed physically. For this purpose, the synthesis emulates nature like wave fronts according to by the assembling of elementary waves. A computer synthesis independently moves a large number of separately controlled loudspeaker membranes, mostly arranged as an array around the listener, exactly in that moment, as the wave front of a virtual point source would reach its point in space.

Gestural Control Of Wavefield synthesis - Research …

However, it is impossible to distribute such bullets at each of the source and reflection starting points as described in the second chapter. Fortunately, the Wave Field Synthesis Principle can produce an unlimited amount of virtual acoustic sources from elementary waves in a loudspeaker line.

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