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| {{Expert-subject|Mathematics|talk=Math needs verification|reason=Formulae need reviewing, errors may have crept in due to conversion from different notations.|date=December 2013}}
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| {{main|Ambisonics}}
| |
| <!-- Commented out: [[Image:AmbisonicLogo.svg|200px|right]] -->
| |
| '''Data exchange formats for [[Ambisonics]]''' have undergone radical changes since the early days of four-track magnetic tape. Researchers working on very high-order systems found no straightforward way to extend the traditional formats to suit their needs. Furthermore, there was no widely accepted formulation of [[spherical harmonics]] for acoustics, so one was borrowed from chemistry, quantum mechanics, computer graphics, or other fields, each of which had subtly different conventions. This lead to an unfortunate proliferation of mutually incompatible ad-hoc formats and much head-scratching. | |
| | |
| This page attempts to document the different existing formats, their rationales and history, for the terminally curious and those unfortunate enough to have to deal with them in detail.
| |
| | |
| == Spherical harmonics in Ambisonics ==
| |
| A common formulation for spherical harmonics in the context of Ambisonics is
| |
| :<math> Y_\ell^m (\theta, \phi) = N_\ell^{|m|} P_\ell^{|m|}(\sin(\phi))\cdot\begin{cases} | |
| {\sin(|m|\theta)} & \mbox{if } m<0 \\
| |
| {1} & \mbox{if } m=0 \\
| |
| {\cos(|m|\theta)} & \mbox{if } m>0
| |
| \end{cases}</math>,<ref name="AmbiX">Christian Nachbar, Franz Zotter, Etienne Deleflie, and Alois Sontacchi: [http://iem.kug.ac.at/fileadmin/media/iem/projects/2011/ambisonics11_nachbar_zotter_sontacchi_deleflie.pdf ''AmbiX - A Suggested Ambisonics Format''] Ambisonics Symposium 2011, Lexington (KY) 2011, p.3, eq(1)</ref>
| |
| | |
| where <math>Y</math> denotes a spherical harmonic of degree <math>\ell</math> and index <math>m</math> with a range of <math>-\ell \leq m \leq +\ell</math>.
| |
| | |
| <math>N</math> is a normalisation factor (see [[#Normalisation|below]]), and <math>P</math> is a [[Legendre function]].
| |
| The azimuth angle <math>\theta</math> is zero straight ahead and travels counter-clockwise. The elevation angle <math>\phi</math> is zero on the horizontal plane and positive in the upper hemisphere.
| |
| | |
| Unfortunately, the "Ambisonic order" <math>\ell</math> is the ''degree'' in mathematical parlance, which uses ''order'' for the second index <math>m</math>.
| |
| | |
| === Relationship of spherical harmonics and B-format signals ===
| |
| | |
| For a source signal <math>S</math> in direction <math>(\theta,\phi)</math>, the Ambisonic components <math>B_\ell^m</math> are given by
| |
| :<math>B_\ell^m = Y_\ell^m (\theta, \phi) \cdot S</math>.
| |
| If we span a direction vector from the origin towards the source until it intersects the respective spherical harmonic, the length of this vector is the coefficient that gets multiplied with the source signal. Repeat for all spherical harmonics up to the desired Ambisonic order.
| |
| | |
| == Prerequisites for successful data exchange ==
| |
| | |
| For successful exchange of Ambisonic material, sender and receiver have to agree on the ''ordering'' of the components, their ''normalisation'' or ''weighting'', and the relative ''polarity'' of the harmonics.
| |
| | |
| Since it is possible to omit parts of the spherical harmonic multipole expansion for content that has non-uniform, direction-dependent resolution (known as ''[[Mixed-order Ambisonics|mixed-order]]''), it might also be necessary to define how to deal with ''missing components''.
| |
| | |
| In the case of transmission "by wire", be it an actual digital multichannel link or any number of virtual patchcords within an audio processing engine, these properties must be explicitly matched on both ends, since there is usually no provision for metadata exchange and parameter negotiation. In the case of files, some flexibility might be possible, depending on the file format and the expressiveness of its metadata set.
| |
| | |
| === Component ordering ===
| |
| The ''traditional B-format'' (<math>WXYZ</math>) only concerned itself with zeroth and first Ambisonic order. Because of a strong correspondence between the spherical harmonics and microphone polar patterns, and the fact that those polar patterns have clearly defined directions, it seemed natural to order and name the components in the same way as the axes of a right-hand coordinate system.
| |
| [[Image:Spherical Harmonics deg5.png|right|thumb|400px|Spherical Harmonics up to ''Ambisonic order'' 5 as commonly displayed, sorted by increasing Ambisonic Channel Number, aligned for symmetry.]]
| |
| For higher orders, this precedent becomes awkward, because spherical harmonics are most intuitively arranged in symmetric fashion around the single z-rotationally symmetric member ''m=0'' of each order, with the horizontal sine terms ''m<0'' to the left, and the cosine terms
| |
| ''m>0'' to the right (see illustration).
| |
| | |
| ==== Furse-Malham ====
| |
| {| class="wikitable floatleft" style="width:200px;text-align:center;font-weight:bold"
| |
| |colspan="3" style="border:none;background-color:white"| ||W
| |
| |colspan="3" style="border:none;background-color:white"|
| |
| |-
| |
| |colspan="2" style="border:none;background-color:white"| ||Y||Z||X
| |
| |colspan="2" style="border:none;background-color:white"|
| |
| |-
| |
| |style="border:none;background-color:white"|
| |
| |V||T||R||S||U
| |
| |style="border:none;background-color:white"|
| |
| |-
| |
| |Q||O||M||K||L||N||P
| |
| |}
| |
| In ''Furse-Malham higher-order format'', an extension of traditional B-format up to third order,<ref>Dave Malham, [http://www.york.ac.uk/inst/mustech/3d_audio/higher_order_ambisonics.pdf ''Higher order Ambisonic systems''], York 2003</ref> orders 2 (<math>RSTUV</math>) and 3 (<math>KLMNOP</math>) begin with their z-rotationally symmetric member and then jump outward right and left (see table), with the horizontal components at the end.
| |
| | |
| ==== SID ====
| |
| {| class="wikitable floatleft" style="width:200px;text-align:center"
| |
| |colspan="3" style="border:none;background-color:white"| ||0
| |
| |colspan="3" style="border:none;background-color:white"|
| |
| |-
| |
| |colspan="2" style="border:none;background-color:white"| ||2||3||1
| |
| |colspan="2" style="border:none;background-color:white"|
| |
| |-
| |
| |style="border:none;background-color:white"|
| |
| |5||7||8||6||4
| |
| |style="border:none;background-color:white"|
| |
| |-
| |
| |10||12||14||15||13||11||9
| |
| |}
| |
| In his seminal 2001 thesis,<ref>Jérôme Daniel, [http://gyronymo.free.fr/audio3D/download_Thesis_PwPt.html ''Représentation de champs acoustiques, application à la transmission et à la reproduction de scènes sonores complexes dans un contexte multimédia''], Paris 2001, p.151</ref> Daniel used a three-index nomenclature <math>Y_{mn}^\sigma</math> for the spherical harmonics, which corresponds to <math>Y_{\ell |m|}^{sgn(m)}</math> in the notation used here.<ref group="note">sgn(x) is the [[Sign function]].</ref> He implied yet another channel ordering, subsequently developed into an explicit proposal called ''SID'' for ''single index''<ref>Jérôme Daniel, [http://gyronymo.free.fr/audio3D/publications/AES23%20NFC%20HOA.pdf ''Spatial Sound Encoding Including Near Field Effect: Introducing Distance Coding Filters and a Viable, New Ambisonic Format''], 23rd AES Conference, Copenhagen 2003, p. 13</ref> which was adopted by a number of researchers. This scheme is compatible with first-order B-format, and continues to traverse the higher spherical harmonics in the same fashion, with the z-rotationally symmetric component at the end, going through the horizontal components first.
| |
| | |
| This makes Daniel's ordering incompatible to Furse-Malham.
| |
| | |
| ==== ACN ====
| |
| {| class="wikitable floatleft" style="width:200px;text-align:center"
| |
| |colspan="3" style="border:none;background-color:white"| ||0
| |
| |colspan="3" style="border:none;background-color:white"|
| |
| |-
| |
| |colspan="2" style="border:none;background-color:white"| ||1||2||3
| |
| |colspan="2" style="border:none;background-color:white"|
| |
| |-
| |
| |style="border:none;background-color:white"|
| |
| |4||5||6||7||8
| |
| |style="border:none;background-color:white"|
| |
| |-
| |
| |9||10||11||12||13||14||15
| |
| |}
| |
| For future higher-order systems, adoption of the ''Ambisonic Channel Number (ACN)''<ref name="Chapman">Michael Chapman et al., ''[http://iem.kug.ac.at/fileadmin/media/iem/projects/2009/ambixchange09.pdf A standard for interchange of Ambisonic signal sets]'', Ambisonics Symposium, Graz 2009</ref>
| |
| has reached wide consensus, because it is determined algorithmically as <math>ACN = \ell^2 + \ell + m</math> and conforms to established practice when listing spherical harmonics, breaking backwards-compatibility for the sake of consistency. The AmbiX format proposal employs ACN ordering.
| |
| <br clear="all"/>
| |
| | |
| === Normalisation ===
| |
| For successful reconstruction of the sound field, it is important to agree on a normalisation method for the spherical harmonic components. The following approaches are common:
| |
| | |
| ==== maxN ====
| |
| The maxN scheme normalizes each single component to never exceed a gain of 1.0 for a panned monophonic source. Malham states that ''"[w]hilst this approach is not rigorously "correct" in mathematical terms{{why|date=December 2013}}, it has significant engineering advantages in that it restricts the maximum levels a panned mono source will generate in some of the higher-order channels."''<ref>{{cite web|url = http://www.york.ac.uk/inst/mustech/3d_audio/higher_order_ambisonics.pdf|title = Higher order Ambisonic systems|accessdate =2 November 2007|last = Malham|first = David
| |
| |date=April 2003|format = PDF|work = Space in Music – Music in Space (Mphil thesis)|publisher = University of York|pages = 2–3}}</ref>
| |
| This property is particularly interesting for fixed-point digital interfaces.
| |
| | |
| MaxN is used in the Furse-Malham format (with the exception of a -3dB correction factor for <math>W</math>).
| |
| | |
| ==== SN3D ====
| |
| SN3D stands for Schmidt semi-normalisation and is commonly used in geology and magnetics. The weighting coefficients are
| |
| : <math>N_{\ell,m}^\text{SN3D} = \sqrt{{2-\delta_m \over 4\pi}{(\ell-|m|)! \over (\ell+|m|)!}}, \delta_m \begin{cases}
| |
| 1 & \mbox{if }m=0 \\
| |
| 0 & \mbox{if }m\neq0
| |
| \end{cases}</math>.<ref>Nachbar, Zotter, Deleflie, and Sontacchi (2011) lc, p.3, eq(3)</ref>
| |
| | |
| Originally introduced into Ambisonic use by Daniel, he notes: ''"High degree of generality - the encoding coefficients are recursively computable, and the first-order components are unity vectors in their respective directions of incidence"''.<ref>Daniel (2001), lc, p.156, translated from French "Grande généricité: calcul récursif des coefficients d'encodage, les composantes d'ordre 1 étant celles du vecteur incidence (unitaire) <math>\vec{u}</math>."</ref>
| |
| | |
| This scheme has been adopted by the proposed AmbiX format.
| |
| | |
| ==== N3D ====
| |
| N3D or full three-D normalisation is the most obvious approach to normalisation. Daniel describes it as follows: ''"[[Orthonormal basis]] for 3D decomposition. Simple relationship to SN3D [..]. Ensures equal power of the encoded components in the case of a perfectly diffuse 3D field. [..] Obvious significance for solving decoding problems [..] (3D reconstruction)."''<ref>Daniel (2001) lc, p.156, translated from French "Base orthonormée pour la décomposition 3D. Relation simple á SN3D (facteur <math>\sqrt{2m+1}</math>). Assure une puissance égale des composantes encodées dans le cas d'un champ parfaitement diffus 3D (intérêt dans le domaine analogique). Intérêt évident pour la résolution (en 3.3) des problèmes de décodage (restitution 3D)."</ref>
| |
| | |
| The relation to SN3D is
| |
| : <math>N_{\ell,m}^\text{N3D} = N_{\ell,m}^\text{SN3D}\sqrt{2\ell+1}</math>.<ref>Daniel (2001), lc, p.150 eq(3.9)</ref>
| |
| | |
| This normalisation is standard in Physics and Mathematics and is used in a wide range of Ambisonic software packages.
| |
| | |
| As N3D and SN3D differ only by scaling factors, care is needed when working with both, as it may not be obvious on first listening if an error has been made, particularly on a system with a small number of speakers.
| |
| | |
| ==== N2D / SN2D ====
| |
| Additionally, two schemes exist which consider only the horizontal components. This has practical advantages for fixed-point media in the common situation where sources are concentrated on the horizontal plane, but the normalisation is somewhat arbitrary and its assumptions do not hold for strongly diffuse soundfields and sound scenes with strong elevated sources. Since Ambisonics is meant to be [[isotropic]] and the 2D schemes definitely are not, their use is discouraged.
| |
| | |
| === Polarity ===
| |
| A third complication arises from the quantum mechanical formulation of spherical harmonics, which was borrowed by some researchers. It includes a factor of <math>(-1)^m</math>, a convention called ''[[Spherical harmonics#Condon.E2.80.93Shortley phase|Condon-Shortley phase]]'', which will invert the relative ''polarity'' of every other component within a given Ambisonic order. The term can be folded both into the formulation of the associated Legendre polynomials or the normalisation coefficient, so it may not always be obvious.
| |
| | |
| For example, Daniel (2001)<ref>Daniel (2001), lc, p. 303, note 4</ref> reports that the pre-defined Legendre functions in [[Matlab]] include C-S phase in the Schmidt semi-normalised form, but not in the standard form.
| |
| | |
| The presence of Condon-Shortley phase in parts of the signal chain usually manifests itself in erratic panning behaviour and increasing apparent source width when going to higher orders, which can be somewhat difficult to diagnose and much harder to eliminate. Hence, its use is'' '''strongly discouraged''' ''in the context of Ambisonics.
| |
| | |
| == Reference table of layouts and normalisations ==
| |
| <!--
| |
| {| class="wikitable" align="right" style="margin-left:10px;text-align:center"
| |
| |+Furse-Malham coefficients
| |
| |-
| |
| !B-Format<br>channel!!Weight
| |
| |-
| |
| | W|| <math>1 / \sqrt{2}</math>
| |
| |-
| |
| | X|| <math>1</math>
| |
| |-
| |
| | Y|| <math>1</math>
| |
| |-
| |
| | Z|| <math>1</math>
| |
| |-
| |
| | R|| <math>1</math>
| |
| |-
| |
| | S|| <math>2 / \sqrt{3}</math>
| |
| |-
| |
| | T|| <math>2 / \sqrt{3}</math>
| |
| |-
| |
| | U|| <math>2 / \sqrt{3}</math>
| |
| |-
| |
| | V|| <math>2 / \sqrt{3}</math>
| |
| |-
| |
| | K|| <math>1\,\!</math>
| |
| |-
| |
| | L|| <math>\sqrt{45 / 32}</math>
| |
| |
| |
| | M|| <math>\sqrt{45 / 32}</math>
| |
| |-
| |
| | N|| <math>3 / \sqrt{5}</math>
| |
| |-
| |
| | O|| <math>3 / \sqrt{5}</math>
| |
| |-
| |
| | P|| <math>\sqrt{8 / 5}</math>
| |
| |-
| |
| | Q|| <math>\sqrt{8 / 5}</math>
| |
| |}
| |
| -->
| |
| The following table gives an overview of all Ambisonic formats published so far.
| |
| * For Furse-Malham (and traditional B-format), sort by FuMa column and multiply the spherical harmonic by the maxN*<ref group="note" name="maxN">MaxN* (starred) denotes maxN normalisation with the additional -3dB correction factor for W.</ref> factor.
| |
| * For SID according to Daniel, sort by SID and apply the relevant normalisation factor as specified in the file metadata.
| |
| * For basic AmbiX, sort by ACN and use the SN3D factor.
| |
| * For extended AmbiX and all other combinations, good luck!
| |
| Conversion factors can be applied either to the Ambisonic components <math>B</math> or the spherical harmonics <math>Y</math>.
| |
| | |
| The data is taken from Chapman (2008).<ref>Michael Chapman, [http://ambisonics.ch/standards/channels/ ''Ambisonic channel sequence (proposed standard)'']</ref>
| |
| | |
| ''<u>'''Please do not rely on this table until it has been thoroughly checked and the "Under construction" notice has been removed.'''</u>''
| |
| | |
| {| class="wikitable sortable collapsible collapsed" style="width:100%;text-align:center"
| |
| ! width="15%" colspan="3" | <math>B</math>
| |
| ! width="45%" colspan="3" | <math>Y_\ell^m (\equiv Y_{ACN})</math>
| |
| ! width="40%" colspan="4" | Conversion factors
| |
| |-
| |
| ! width="5%" | <small>ACN</small>
| |
| ! width="5%" | <small>FuMa</small><ref group="note">The usual notation for FuMa channels is just the single letter. The superscript prefix is just an ad-hoc hack to enable proper sorting, since lexical sorting would shuffle the Ambisonic orders.</ref>
| |
| ! width="5%" | <small>SID</small>
| |
| ! width="5%" | <math>\ell</math>
| |
| ! width="5%" | <math>m</math>
| |
| ! Spherical harmonic in N3D
| |
| ! width="10%" | <small>to SN3D</small>
| |
| ! width="10%" | <small>to maxN*<ref name="maxN" group="note">MaxN* (starred) denotes maxN normalisation with the additional -3dB correction factor for W.</ref></small>
| |
| ! width="10%" | <small>to N2D</small>
| |
| ! width="10%" | <small>to SN2D</small>
| |
| |-
| |
| <!--
| |
| ACN FuMa SID l m -->
| |
| | 0 || <sup>01</sup><math>W</math> || 0 || 0 || 0
| |
| | <math>1</math>
| |
| | <math>1</math>
| |
| | <math>1\over{\sqrt{2}}</math>
| |
| |
| |
| |
| |
| |- style="background-color:white"
| |
| | 1 || <sup>03</sup><math>Y</math> || 2 || 1 ||-1
| |
| | <math>\sqrt{3}\sin(\theta)\cos(\phi)</math>
| |
| | <math>1\over{\sqrt{3}}</math>
| |
| | <math>1\over{\sqrt{3}}</math>
| |
| |
| |
| |
| |
| |- style="background-color:white"
| |
| | 2 || <sup>04</sup><math>Z</math> || 3 || 1 || 0
| |
| | <math>\sqrt{3}\sin(\phi)</math>
| |
| | <math>1\over{\sqrt{3}}</math>
| |
| | <math>1\over{\sqrt{3}}</math>
| |
| |
| |
| |
| |
| |- style="background-color:white"
| |
| | 3 || <sup>02</sup><math>X</math> || 1 || 1 || 1
| |
| | <math>\sqrt{3}\cos(\theta)\cos(\phi)</math>
| |
| | <math>1\over{\sqrt{3}}</math>
| |
| | <math>1\over{\sqrt{3}}</math>
| |
| |
| |
| |
| |
| |-
| |
| <!--
| |
| ACN FuMa SID l m -->
| |
| | 4 || <sup>09</sup><math>V</math> || 5 || 2 ||-2
| |
| | <math>\frac{\sqrt{15}}{2}\sin(2\theta)\cos^2(\phi)</math>
| |
| | <math>1\over{\sqrt{5}}</math>
| |
| | <math>2\over\sqrt{15}</math>
| |
| |
| |
| |
| |
| |-
| |
| | 5 || <sup>07</sup><math>T</math> || 7 || 2 ||-1
| |
| | <math>\frac{\sqrt{15}}{2}\sin(\theta)\sin(2\phi)</math>
| |
| | <math>1\over{\sqrt{5}}</math>
| |
| | <math>2\over\sqrt{15}</math>
| |
| |
| |
| |
| |
| |-
| |
| | 6 || <sup>05</sup><math>R</math> || 8 || 2 || 0
| |
| | <math>\frac{\sqrt{5}}{2}(3\sin^2(\phi)-1)</math>
| |
| | <math>1\over{\sqrt{5}}</math>
| |
| | <math>1\over{\sqrt{5}}</math>
| |
| |
| |
| |
| |
| |-
| |
| | 7 || <sup>06</sup><math>S</math> || 6 || 2 || 1
| |
| | <math>\frac{\sqrt{15}}{2}\cos(\theta)\sin(2\phi)</math>
| |
| | <math>1\over{\sqrt{5}}</math>
| |
| | <math>2\over\sqrt{15}</math>
| |
| |
| |
| |
| |
| |-
| |
| | 8 || <sup>08</sup><math>U</math> || 4 || 2 || 2
| |
| | <math>\frac{\sqrt{15}}{2}\cos(2\theta)\cos^2(\phi)</math>
| |
| | <math>1\over{\sqrt{5}}</math>
| |
| | <math>2\over\sqrt{15}</math>
| |
| |
| |
| |
| |
| |- style="background-color:white"
| |
| <!--
| |
| ACN FuMa SID l m -->
| |
| | 9 || <sup>16</sup><math>Q</math> || 10 || 3 ||-3
| |
| | <math>\sqrt{35\over{8}}\sin(3\theta)\cos^3(\phi)</math>
| |
| | <math>1\over\sqrt{7}</math>
| |
| | <math>\sqrt{8\over 35}</math>
| |
| |
| |
| |
| |
| |- style="background-color:white"
| |
| | 10 || <sup>14</sup><math>O</math> || 12 || 3 ||-2
| |
| | <math>\frac{\sqrt{105}}{2}\sin(2\theta)\sin(\phi)\cos^2(\phi)</math>
| |
| | <math>1\over\sqrt{7}</math>
| |
| | <math>3\over\sqrt{35}</math>
| |
| |
| |
| |
| |
| |- style="background-color:white"
| |
| | 11 || <sup>12</sup><math>M</math> || 14 || 3 ||-1
| |
| | <math>\sqrt{21\over{8}}\sin(\theta)(5\sin^2(\phi)-1)\cos(\phi)</math>
| |
| | <math>1\over\sqrt{7}</math>
| |
| | <math>\sqrt{45\over 224}</math>
| |
| |
| |
| |
| |
| |- style="background-color:white"
| |
| | 12 || <sup>10</sup><math>K</math> || 15 || 3 || 0
| |
| | <math>\frac{\sqrt{7}}{2}\sin(\phi)(5\sin^2(\phi)-3)</math>
| |
| | <math>1\over\sqrt{7}</math>
| |
| | <math>1\over\sqrt{7}</math>
| |
| |
| |
| |
| |
| |- style="background-color:white"
| |
| | 13 || <sup>11</sup><math>L</math> || 13 || 3 || 1
| |
| | <math>\sqrt{21\over{8}}\cos(\theta)(5\sin^2(\phi)-1)\cos(\phi)</math>
| |
| | <math>1\over\sqrt{7}</math>
| |
| | <math>\sqrt{45\over 224}</math>
| |
| |
| |
| |
| |
| |- style="background-color:white"
| |
| | 14 || <sup>13</sup><math>N</math> || 11 || 3 || 2
| |
| | <math>\frac{\sqrt{105}}{2}\cos(2\theta)\sin(\phi)\cos^2(\phi)</math>
| |
| | <math>1\over\sqrt{7}</math>
| |
| | <math>3\over\sqrt{35}</math>
| |
| |
| |
| |
| |
| |- style="background-color:white"
| |
| | 15 || <sup>15</sup><math>P</math> || 9 || 3 || 3
| |
| | <math>\sqrt{35\over{8}}\cos(3\theta)\cos^3(\phi)</math>
| |
| | <math>1\over\sqrt{7}</math>
| |
| | <math>\sqrt{8\over 35}</math>
| |
| |
| |
| |
| |
| |-
| |
| <!--
| |
| ACN FuMa SID l m -->
| |
| | 16 || ø || 17 || 4 ||-4
| |
| | <math>\frac{3}{8}\sqrt{35}\sin(4\theta)\cos^4(\phi)</math>
| |
| | <math>\frac{1}{3}</math>
| |
| | ø
| |
| |
| |
| |
| |
| |-
| |
| | 17 || ø || 19 || 4 ||-3
| |
| | <math>\frac{3}{2}\sqrt{\frac{35}{2}}\sin(3\theta)\sin(\phi)\cos^3(\phi)</math>
| |
| | <math>\frac{1}{3}</math>
| |
| | ø
| |
| |
| |
| |
| |
| |-
| |
| | 18 || ø || 21 || 4 ||-2
| |
| | <math>\frac{3}{4}\sqrt{5}\sin(2\theta)(7\sin^2(\phi)-1)\cos^2(\phi)</math>
| |
| | <math>\frac{1}{3}</math>
| |
| | ø
| |
| |
| |
| |
| |
| |-
| |
| | 19 || ø || 23 || 4 ||-1
| |
| | <math>\frac{3}{4}\sqrt{\frac{5}{2}}\sin(\theta)\sin(2\phi)(7\sin^2(\phi)-3)</math>
| |
| | <math>\frac{1}{3}</math>
| |
| | ø
| |
| |
| |
| |
| |
| |-
| |
| | 20 || ø || 24 || 4 || 0
| |
| | <math>\frac{3}{8}(35\sin^4(\phi)-30\sin^2(\phi)+3)</math>
| |
| | <math>\frac{1}{3}</math>
| |
| | ø
| |
| |
| |
| |
| |
| |-
| |
| | 21 || ø || 22 || 4 || 1
| |
| | <math>\frac{3}{4}\sqrt{\frac{5}{2}}\cos(\theta)\sin(2\phi)(7\sin^2(\phi)-3)</math>
| |
| | <math>\frac{1}{3}</math>
| |
| | ø
| |
| |
| |
| |
| |
| |-
| |
| | 22 || ø || 20 || 4 || 2
| |
| | <math>\frac{3}{4}\sqrt{5}\cos(2\theta)(7\sin^2(\phi)-1)\cos^2(\phi)</math>
| |
| | <math>\frac{1}{3}</math>
| |
| | ø
| |
| |
| |
| |
| |
| |-
| |
| | 23 || ø || 18 || 4 || 3
| |
| | <math>\frac{3}{2}\sqrt{\frac{35}{2}}\cos(3\theta)\sin(\phi)\cos^3(\phi)</math>
| |
| | <math>\frac{1}{3}</math>
| |
| | ø
| |
| |
| |
| |
| |
| |-
| |
| | 24 || ø || 16 || 4 ||-4
| |
| | <math>\frac{3}{8}\sqrt{35}\cos(4\theta)\cos^4(\phi)</math>
| |
| | <math>\frac{1}{3}</math>
| |
| | ø
| |
| |
| |
| |
| |
| |-
| |
| |}
| |
| | |
| == File formats and metadata ==
| |
| For file-based storage and transmission, additional properties need to be defined, such as the base file format and, if desired, accompanying metadata.
| |
| | |
| === AMB ===
| |
| | |
| The <code>.amb</code> file format was proposed and defined by Richard Dobson in 2001,<ref name=".AMB">Richard Dobson [http://people.bath.ac.uk/masrwd/bformat.html ''The AMB Ambisonic File Format'']</ref> based on Microsoft's [http://msdn.microsoft.com/en-us/windows/hardware/gg463006.aspx WAVE_FORMAT_EXTENSIBLE] amendment to the [[WAV]] audio file format. It mandates the use of Furse-Malham channel ordering and maxN* normalisation.
| |
| | |
| From its parent, it inherits a maximum file size of 4GB, which is a serious limitation for live recording in higher orders.
| |
| | |
| <code>.amb</code> Files are distinguished from other multichannel content by their suffix and by setting the file subtype [[Globally Unique Identifier]] in their header data to either of the following values:
| |
| * <code>SUBTYPE_AMBISONIC_B_FORMAT_PCM {00000001-0721-11d3-8644-C8C1CA000000}</code> for integer samples, or
| |
| * <code>SUBTYPE_AMBISONIC_B_FORMAT_IEEE_FLOAT {00000003-0721-11d3-8644-C8C1CA000000}</code> for floating point.
| |
| The definition mandates that the WAVE_EX <code>dwChannelMask</code> must be set to zero. Furthermore, it recommends that the file should contain a <code>PEAK</code> chunk, containing the value and position of the highest sample in each channel.
| |
| | |
| The channels within an <code>.amb</code> file are interleaved, and any unused channels are omitted. This makes it possible to identify traditional [[Mixed-order Ambisonics#Superimposed horizontal and full-sphere signals .28.23H.23P.29|#H#P mixed-order]] content by the number of channels present, as per the following table:<ref name=".AMB"/>
| |
| {| class="wikitable collapsible collapsed" style="text-align:center;"
| |
| |+ .amb to B-format channel mapping
| |
| ! rowspan="2" width="20%" | No of chns
| |
| ! colspan="2" | Order
| |
| ! rowspan="2" width="40%" | Description
| |
| ! rowspan="2" width="20%" | Layout of components
| |
| |-
| |
| ! width="10%" | horiz. !! width="10%"| vert.
| |
| |-
| |
| | 1
| |
| | 0 || 0
| |
| | [[Monaural|mono]]
| |
| | <math>W</math>
| |
| | |
| |-
| |
| | 2
| |
| | ½<ref>Dobson (2001) uses "1", which would imply a complete set of horizontal components WXY.</ref> || 0
| |
| | [[Microphone practice#M.2FS technique: Mid.2FSide stereophony|M/S stereo]]
| |
| | <math>WX</math>
| |
| | |
| |-
| |
| | 3
| |
| | 1 || 0
| |
| | first-order horizontal
| |
| | <math>WXY</math>
| |
| | |
| |-
| |
| | 4
| |
| | 1 || 1
| |
| | first-order full-sphere
| |
| | <math>WXYZ</math>
| |
| | |
| |-
| |
| | 5
| |
| | 2 || 0
| |
| | second-order horizontal
| |
| | <math>WXYUV</math>
| |
| | |
| |-
| |
| | 6
| |
| | 2 || 1
| |
| | second-order horizontal, first-order full-sphere
| |
| | <math>WXYZUV</math>
| |
| | |
| |-
| |
| | 7
| |
| | 3 || 0
| |
| | third-order horizontal
| |
| | <math>WXYUVPQ</math>
| |
| | |
| |-
| |
| | 8
| |
| | 3 || 1
| |
| | third-order horizontal, first-order full sphere
| |
| | <math>WXYZVUPQ</math>
| |
| | |
| |-
| |
| | 9
| |
| | 2 || 2
| |
| | second-order full-sphere
| |
| | <math>WXYZRSTUV</math>
| |
| | |
| |-
| |
| |11
| |
| | 3 || 2
| |
| | third-order horizontal, second-order full sphere
| |
| | <math>WXYZRSTUVPQ</math>
| |
| | |
| |-
| |
| |16
| |
| | 3 || 3
| |
| | third-order full sphere
| |
| | <math>WXYZRSTUVKLMNOPQ</math>
| |
| | |
| |}
| |
| | |
| The [[free and open source]] C library [[libsndfile]] has included <code>.amb</code> support since 2007.
| |
| | |
| Dobson's format has been instrumental in making native Ambisonic content easily accessible to enthusiasts, and to pave the way for research and deployment of Higher-order Ambisonics. While it cannot scale any further than third order and does not accommodate [[Mixed-order Ambisonics#Complete mixed-order sets (.23H.23V)|#H#V mixed order sets]], its capabilities are more than sufficient for most Ambisonic content in existence today, and backwards-compatibility to <code>.amb</code> is an important feature of any real-world Ambisonic workflow.
| |
| | |
| === AmbiX ===
| |
| AmbiX<ref name="AmbiX"/> adopts Apple's Core Audio Format or <code>.caf</code>. It scales to arbitrarily high orders and has no practically relevant limitation of file size.
| |
| AmbiX files contain linear PCM data with word lengths of 16, 24, or 32 bit fixed point, or 32 bit float, at any sample rate valid for <code>.caf</code>.
| |
| | |
| Its ''basic format'' mandates a complete full-sphere signal set, the order of which can be uniquely and trivially deduced from the number of channels. Only the minimum header information required by the <code>.caf</code> specification are present and no other metadata is included.
| |
| | |
| The ''extended format'' is marked by the presence of a User-Defined Chunk with the [[Universally Unique Identifier|UUID]]
| |
| :<code>49454D2E-4154-2F41-4D42-49582F584D4C</code>.
| |
| Additionally, the header now contains an ''adaptor matrix'' of coefficients, which needs to be applied to the data streams before they can be played back. This matrix provides a generic way of mapping payloads in any previous format and any mix of orders to canonical periphony, ACN ordering and SN3D normalisation. Theoretically, it can even accommodate sound fields that [[Mixed-order Ambisonics#Signals defined for particular subsets of the sphere|span only subsets of the sphere]].
| |
| | |
| AmbiX was originally proposed at the Ambisonic Symposium 2011, building upon previous work by Travis<ref>Travis, Chris, [http://ambisonics.iem.at/symposium2009/proceedings/ambisym09-travis-newmixedorder.pdf/at_download/file ''A new mixed-order scheme for Ambisonic signals''], Ambisonics Symposium, Graz 2009</ref> and Chapman et al.<ref name="Chapman"/>
| |
| | |
| == Notes ==
| |
| {{reflist|group=note}}
| |
| | |
| == References ==
| |
| {{reflist}}
| |
| | |
| [[Category:Ambisonics]]
| |