Fraunhofer Institute for Integrated Circuits IIS designed a way to significantly improve immersive sound reproduction capabilities on consumer playback devices, based on MPEG-H decoding and rendering and Fraunhofer’s upHear soundbar processing. This article is a technology update on MPEG-H and Fraunhofer upHear implementations, now available for licensing to audio video receiver (AVR) and soundbar manufacturers.
Imagine watching a crime drama on TV. The detective interrogates a suspect as suspense-filled music plays in the background. The back-and-forth dialog, however, is hard to understand because of the music’s volume. A similar dilemma happens while watching a live sports broadcast, where the commentary drowns out the stadium atmosphere. TV stations have to deal with issues like these all the time. They have to find a compromise in the audio mix that suits a diverse audience. What would change the game is enabling viewers to change the audio playback to their own preferences.
The MPEG-H TV Audio System, substantially developed by Fraunhofer IIS, is designed to offer new interactive options for the viewer as well as deliver immersive 3D sound. The format is integrated in the ATSC 3.0 and DVB television standards. It has been on air in South Korea since May 2017 as part of the world’s first regular terrestrial UHDTV service. MPEG-H, however, is not only a new audio codec, but a complete system—from the microphone to the loudspeaker— and opens up new options for creatives as well as new sound dimensions for viewers.
MPEG-H Audio: Creative Freedom Through Channels, Objects, and Ambisonics
MPEG-H offers three dimensions of efficient audio transmission: channels, objects, and ambisonics. Channel-based audio ensures, among other things, that all conventional content can be broadcast using MPEG-H . Additionally, the capabilities of channel-based audio are enhanced by the introduction of height channels, enabling the playback of true 3D immersive sound. For usage in ATSC 3.0 and DVB, the number of available loudspeaker channels in the MPEG-H TV Audio System is limited to 12. That way, common formats such as 5.1+4 and 7.1+4 are possible. For the Japanese market, the MPEG standard allows for a variant that supports the 22.2 system proposed in Japan.
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Perspectives on Automotive Sound Design - In the Era of Electric Vehicles
From combustion engine vehicles to fully electric vehicles, and from sound systems in the car to sound design and synthesis for the car itself, everything is changing in the automotive industry. This conversation with two members of the DSP Concepts automotive team with vast experience in the field, John Whitecar, VP of Product Management, and Steve Ernst, Head of Business Development, offers valuable insights on how things are evolving.
Audioscenic: From Vision to Product
Audioscenic is an innovative 3D audio beamforming technology company spun off from the University of Southampton. It is a remarkable example of perseverance, from early development to the first commercial implementation, which audioXpress considered Best of Show at CES 2023. This article shares the story so far, as Audioscenic continues its groundbreaking journey exploring consumer applications for its forward-thinking approach to spatial audio.
The Changing Audio-Ecosystem in Electric Vehicles
The rapid shift to plug-in hybrid and full-battery electric vehicles is having a significant and long-lasting impact on how audio systems are integrated into cars. While some noises are much more prominent due to the absence of the familiar engine noise, the transition offers exciting possibilities for sound systems, passenger entertainment, and enhancing the overall automotive experience.
A (Z)OTL with 300Bs: Part 1-The Makeover
Rebuilding an amplifier for reasons of better reliability, better aesthetics, or bringing it up to the latest standard can be very rewarding. And if it is a classical, technological grandstand, even more so. Thomas Perazella embarked on such an adventure with a famous David Berning ZOTL amplifier. In Part 1 of this article, Tom presents the amplifier and discusses its unique circuitry. In Part 2, he will proceed to dismantle and rebuild the amp for the new owner and place it in a new chassis
The Hypex NCORE NCx500 Amplifier Module
NCORE (NC) amplifier modules are the flagship product from Dutch manufacturer Hypex Electronics and its success among the high-end audio brands is well documented. In 2022, Hypex announced the introduction of its improved NCOREX technology, starting with the NCx500 OEM module, which audioXpress received for review
Monoblock Power Amplifier with Precision Bias Control
In Part 2, Bruce Gillingham discusses the remainder of the MB1's circuitry, its mechanical design, and its performance measurements
A Trip Down Memory Lane
The history of tube application began with radio receivers, the telephone system, and cinema sound systems. Later, tubes began to be used in home stereo systems, and in amplifiers for electric guitars. Today, the primary markets for tubes are high-end stereo and musical instrument amplifiers. In this article Richard Honeycutt remembers his first contact with \"starter\" guitar amps as a teenager, progressing throughout his days as a semi-pro musician
The Vanderveen Trans PP80 Valve Amplifier
This new push-pull (PP) valve amplifier, featuring the Trans technique, delivers 80W power, refined resolution, valve-sound envelopment, and low distortion plus good speaker damping. And... the amp is simple to construct
Accuracy in LTspice Modeling
Sometimes we need to consider the human factor when using circuit design simulation tools. In this article, our hollow-state expert details an error that occurred in a past article, which is now being corrected.
Transitioning Audio Tests from R&D to the Production Line
Production line audio testing poses many challenges such as noisy environments, harsh operating conditions, high throughput, relative limits, and more. In this article, Steve Temme shares his observations and outlines the main considerations to ensure a successful operation.
