"WilliamsMMAD - Stereo, Surround & 3D Audio" / Contents www.williamsmmad.com Books can be ordered from here.

CONTENTS

List of Figures
Figures in Annexe
List of Tables
Preface and Acknowledgements
Introduction
Papers Published by the Author


- Stereo
- Multichannel
- 3D Audio


Mathematical Models
The Circle of Confusion
The Pernicious Effect of Digital Signal Processing





CHAPTER 1
The Loudspeaker Configuration


1.1 Listening to Stereo with Loudspeakers
1.2 Monitoring with headphones


Chapter     Annexes    
CHAPTER 2
The Stereo Zoom - An Operational Approach
to the Variable Two Channel Microphone Array

2.1 Localization
2.2 The Stereophonic Recording Angle
2.3 Microphone Position
2.4 Frequency Response Curve and Directivity
2.5 Operational limitations

2.5.1 Variation of the ratio of direct to reverberant sound
      within the stereophonic recording angle
2.5.2 Angular Distortion - Geometric Distortion

2.6 The old favourites (X/Y, A/B, ORTF, NOS, Stereosonic ...)
2.7 Recording procedure
2.8 Measuring instruments


Chapter     Annexes    
CHAPTER 3
The Training of the Ear - Experimental Recording and Listening Tests


Introduction
3.1 What Type of Microphone?
3.2 First Steps in Understanding the Stereophonic Recording Angle
      and the Angular Distortion Characteristics
3.3 Analysis of the Listening Tests

3.3.1 Combination 0cm / 90°
3.3.2 Combination 0cm / 180°
3.3.3 Combination 0cm / 130°
3.3.4 Combination 0cm / 60°
3.3.5 Combination 30cm / 90°
3.3.6 Combination 25cm / 70°
3.3.7 Combination 17cm / 110°
3.3.8 Combination 15cm / 70°
3.3.9 Combination 10cm / 60°
3.3.10 Combination 35cm / 10°
3.3.11 Comparison of Cardioid Arrays
      with SUPERcardioid and HYPOcardioid Arrays

3.4 Analysis of the Experimental Recording and Listening tests
      with Other Types of Sound Source

3.4.1 Straight Line Moving Sources
3.4.2 Continuous Straight Line Sources - Waves on a Beach
3.4.3 Sound Sources Occupying an Angular Sector less than 180°
3.4.4 Sounds from All Directions - the Natural Environment

3.5 Sound Recording with Three Channel Microphone Arrays
3.6 First Steps in Surround Sound using Four and Five Channel Arrays



Chapter     Annexes    
Chapter 4
Designing Microphone Arrays for Stereophonic Sound Recording Introduction


4.1 Psychoacoustic Measurement of the Two Channel Stereophonic Loudspeaker Configuration
4.2 The Physics of the Dual Microphone Array

4.2.1 Level and Time Difference Characteristics
4.2.2 Time Difference
4.2.3 Phase and Time
4.2.4 Level Difference or Intensity Difference
4.2.5 The Intersection of Physics and Psychoacoustics
4.2.6 Hybrid Systems using both Level and Time Difference

4.3 Construction of the SRA Diagram
4.4 The Selection Criteria within the SRA Diagram

4.4.1 Angular distortion - Geometrical Distortion
4.4.2 Variation of the Ratio of Direct to Reverberant Sound

4.5 Early Reflections and Reverberation Field Distribution

4.5.1 The Variation of Stereophonic Recording Angle
elevation
4.5.2 Spherical Trigonometry - Solving the Triangle
4.5.3 Distribution of Reverberation
4.5.4 Early Reflections

4.6 Operational Signification of Elevation Characteristics
4.7 Accuracy in Reading the SRA Diagrams
4.8 Directivity Modeling



Chapter     Annexes    
Chapter 5
Operational Limits of the Variable M/S Stereophonic Microphone System


Introduction
5.1 The Basic Principles - M/S Stereophonic Sound Recording System
5.2 The Variable M/S System
5.3 Angular Distortion
5.4 Reverberation Limits
5.5 Operational Limits
5.6 Matrixing and the Left and Right Directivity Patterns
5.7 The Operational Approach
5.8 The Variable M/S Stereo ‘Shotgun’ System



Chapter     Annexes    
Chapter 6
Multichannel Microphone Array Design (MMAD) and Surround Sound


Introduction
6.1 Higher order Microphone Array Design
6.2 Segmentation of the Sound field
6.3 Equal Segment Microphone Array Design
6.4 Symmetrical Quadraphonic Arrays with Unequal Segment Coverage
6.5 Twisted Quad Recording
6.6 The ICA 5 System or INA 5
6.7 Microphone Array Crosstalk

6.7.1 The Nature of the Sound Source
6.7.2 Crosstalk between Specific Segments and Microphones…
6.7.3 Crosstalk due to Adjacent Segments

6.8 The Segment Steering Tools

6.8.1 The Need for Segment Steering
6.8.2 Level Offset and Time Offset Generation
6.8.3 Segment Steering with CAMAD Software

6.9 The Three Main Categories of Microphone Array Design
6.10 Coverage Strategy
6.11 The Design Criteria and their ‘Pecking Order’

6.11.1 Overall and Differential Sound Perspective
6.11.2 Front Triplet Segment Coverage
6.11.3 Lateral Segment Coverage
6.11.4 Back Pair Segment Coverage
6.11.5 Microphone Array Response Above & Below Ref. Plane.
6.11.6 Availability of Operational Time Offset and the Use of only
      Microphone Position Offset to obtain Critical Linking
6.11.7 Segment Reproduction Linearity and Loudspeaker Configuration
6.11.8 Segment Reproduction Resolution
6.11.9 Proportion of Time Difference and Level Difference in each Segment…
6.11.10 Reduction of Acoustic Crosstalk between array Segments
6.11.11 Availability of Microphone Array Support Systems
6.11.12 Choice of Microphone Directivity versus Frequency Response

6.12 Operational Five Channel Microphone Arrays
6.13 Multiformat Recording & Compatibility

6.13.1 Designing for Compatibility
6.13.2 The Front Segment Coverage Design Formula
6.13.1 Designing for Compatibility
6.13.2 The Front Segment Coverage Design Formula
6.13.3 The Front SegmentCoverage —Design Procedure
6.13.4 The Side and Back Segment Coverage
6.13.5 The Additional Option of Twisted Quad Mixdown
6.13.6 An Operational Range of Multiformat Compatible Arrays

6.14 Designing a Full Eight Channel Master Array

6.14.1 Multiformat Arrays Generating Interformat Compatibility M.A.G.I.C.
6.14.2 Asymmetrical M.A.G.I.C. Array

6.15 The 7 Channel Blu-Ray Format
6.16 The 7 Channel Listening Experience

6.16.1 Spherical Wave Front Propagation
      and Toroidal Ring Wave Front Propagation
6.16.2 Reducing the Toroidal Wave Front Propagation




Chapter     Annexes    
Chapter 7
3D MMAD - Designing for Height


Introduction
7.1 Pseudo Height Systems - Dual Layer Surround Sound
7.2 Interlayer Localization
7.3 Psychoacoustic Testing
7.4 An Experimental 12 Channel 3D Multiformat Microphone Array

7.4.1 Minimal Interaction
7.4.2 The Acoustic Layer Switch Mechanism
7.4.3 Max. Interaction - The Primary Isosceles Triangle Structure

7.5 The GOArt Project—The Organ as a Memory Bank

7.5.1 The GOArt Database
7.5.2 The GOArt Listening Tests

7.6 12 Channel Multiformat Array - Compatibility Analysis

7.6.1 Compatibility Configurations within the 1st M.A.G.I.C. Layer
7.6.2 Compatibility between an Eight Channel Surround Sound
      Array and an Eight Channel 3D Array

7.7 Hexaphony
7.8 Full 12 Channel Loudspeaker Configuration
7.9 Loudspeaker Installation
7.10 Integral 3D MMAD

7.10.1 An Initial Approach to the Testing of the Interlayer Localization
7.10.2 Measuring the Precise Localization of the Sound Source
7.10.3 ‘Witch’s Hat’ Localization
7.10.4 ‘Top Hat’ Localization

7.11 From integral 3D to Comfort 3D ‘Tria Quarteira Sphaera’ Coverage
7.12 Calibrating the Loudspeaker Reproduction Configuration and the Microphone Array System

7.12.1 Loudspeaker calibration
7.12.2 Critical Linking in the First Height Segment
7.12.3 The Critical Linking of the First Elevation Segment
      to the Surround Sound (or Horizontal) Array

7.13 Array Design for a Five Channel Surround Layer
      and a Five Channel Height Layer

7.13.1 Microphone Distance to ‘Wingspan’ Conversion
7.13.2 5 Channel Hypocardioid Surround Array plus
      5 Channel Hypocardioid Height Array
7.13.3 5 Channel Hypocardioid Surround Array plus
      5 Channel Cardioid Height Array
7.13.4 5 Channel Hypocardioid Surround Array plus
      5 Channel Supercardioid Height Array
7.13.5 5 Channel Hypocardioid Surround Array plus
      5 Channel Figure-of-Eight Height Array
7.13.6 5 Channel Cardioid Surround Array plus
      5 Channel Cardioid Height Array
7.13.7 5 Channel Cardioid Surround Array plus
      5 Channel Supercardioid Height Array
7.13.8 5 Channel Cardioid Surround Array plus
      5 Channel Figure of Eight Height Array
7.13.9 Microphone Level Calibration

7.14 Linking the Surround Sound Layer to the Upper Zenith Zone Segments

7.14.1 5 Channel All Hypocardioid Array
7.14.2 5 Channel Hypocardioid/Cardioid Array
7.14.3 5 Channel Hypocardioid/Supercardioid Array
7.14.4 5 Channel Hypocardioid/Figure-of-Eight Array
7.14.5 5 Channel All Cardioid Array
7.14.6 5 Channel Cardioid/Supercardioid Array

7.15 Some Other Array Configurations





Chapter     Annexes    
Chapter 8
3D Loudspeaker Configurations


8.1 Five Surround Channels, Five Height Channels plus a Zenith Channel
8.2 Other Loudspeaker Configurations
8.3 ‘Mobile’ Loudspeaker Installation System
Presentation of the ‘Williams Tree’ at the 152 AES Convention in Den Hague





Chapter     Annexes    
Chapter 9
The Williams Tree


Introduction
9.1 The Williams Tree - three Layers plus the Zenith/Top
9.2 The Surround Sound Layer and the M.A.G.I.C. Touch
9.3 The Height Layers
9.4 The Zenith Coverage
9.5 Redundancy
P6





Chapter     Annexes    
Chapter 10
Epilogue - Where to next?


Chapter     Annexes    
Annexe A - Windshields and On Location Recording


Introduction
A.1 Test Microphone with No Windshield
A.2 Windshield System ‘A’ - (Dia 10cm)
A.3 Windshield System ‘B’ - (Dia 9cm)
A.4 Windshield System ‘C’ - (Dia 9cm)
A.5 Windshield System ‘D’ - (Dia 9cm)





Chapter     Annexes    
Annexe B - Colour Coding and Cabling


B.1 Colour Coding
B.2 Surround Sound Colour Coding
B.3 Height Layer Colour Coding
B.4 Connectors





Chapter     Annexes    
Annexe C - Zenith Zone Steering


C.1 Hypocardioid Zenith zone Array Calculation
C.2 Cardioid Calculation
C.3 Supercardioid Calculation
C.4 Figure of Eight Calculation





Chapter     Annexes    
Annexe D - Full Page Figures

References for All Chapters
Index