Source: http://www.google.com/patents/US8019095?ie=ISO-8859-1&dq=6721967
Timestamp: 2015-04-28 11:20:52
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Matched Legal Cases: ['application No. 2005299410', 'Application No. 03791682', 'Application No. 05818505', 'Application No. 05818505', 'Application No. 182097', 'Application No. 03819918', 'Application No. 165', 'Application No. 03819918', 'art 2', 'Application No. 0702926']

Patent US8019095 - Loudness modification of multichannel audio signals - Google PatentsSearch Images Maps Play YouTube News Gmail Drive More »Sign inAdvanced Patent SearchPatentsScaling, by a desired amount sm, the overall perceived loudness Lm of a multichannel audio signal, wherein perceived loudness is a nonlinear function of signal power P, by scaling the perceived loudness of each individual channel Lc by an amount substantially equal to the desired amount of scaling of...http://www.google.com/patents/US8019095?utm_source=gb-gplus-sharePatent US8019095 - Loudness modification of multichannel audio signalsAdvanced Patent SearchPublication numberUS8019095 B2Publication typeGrantApplication numberUS 12/225,988PCT numberPCT/US2007/006444Publication dateSep 13, 2011Filing dateMar 14, 2007Priority dateApr 4, 2006Also published asCN101411060A, CN101411060B, DE602007010912D1, EP2002539A1, EP2002539B1, US8600074, US8731215, US20100202632, US20110311062, US20120106743, US20140211946, WO2007123608A1Publication number12225988, 225988, PCT/2007/6444, PCT/US/2007/006444, PCT/US/2007/06444, PCT/US/7/006444, PCT/US/7/06444, PCT/US2007/006444, PCT/US2007/06444, PCT/US2007006444, PCT/US200706444, PCT/US7/006444, PCT/US7/06444, PCT/US7006444, PCT/US706444, US 8019095 B2, US 8019095B2, US-B2-8019095, US8019095 B2, US8019095B2InventorsAlan Jeffrey Seefeldt, Michael John SmithersOriginal AssigneeDolby Laboratories Licensing CorporationExport CitationBiBTeX, EndNote, RefManPatent Citations (99), Non-Patent Citations (111), Referenced by (6), Classifications (16), Legal Events (1) External Links: USPTO, USPTO Assignment, EspacenetLoudness modification of multichannel audio signals
Certain techniques for measuring and adjusting perceived (psychoacoustic loudness) useful in better understanding aspects the present invention are described in published International patent application WO 2004/111994 A2, of Alan Jeffrey Seefeldt et al, published Dec. 23, 2004, entitled �Method, Apparatus and Computer Program for Calculating and Adjusting the Perceived Loudness of an Audio Signal� and in �A New Objective Measure of Perceived Loudness� by Alan Seefeldt et al, Audio Engineering Society Convention Paper 6236, San Francisco, Oct. 28, 2004. Said WO 2004/111994 A2 application and said paper are hereby incorporated by reference in their entirety.
Certain other techniques for measuring and adjusting perceived (psychoacoustic loudness) useful in better understanding aspects the present invention are described in published International patent application WO 2006/047600 A1 of Alan Jeffrey Seefeldt, published May 4, 2006, entitled �Calculating and Adjusting the Perceived Loudness and/or the Perceived Spectral Balance of an Audio Signal.� Said WO 2006/047600 A1 application is hereby incorporated by reference in its entirety.
Many methods exist for objectively measuring the perceived loudness of audio signals. Examples of methods include A, B and C weighted power measures as well as psychoacoustic models of loudness such as �Acoustics�Method for calculating loudness level,� ISO 532 (1975) and said PCT/US2005/038579 application. Weighted power measures operate by taking the input audio signal, applying a known filter that emphasizes more perceptibly sensitive frequencies while deemphasizing less perceptibly sensitive frequencies, and then averaging the power of the filtered signal over a predetermined length of time. Psychoacoustic methods are typically more complex and aim to better model the workings of the human ear. They divide the signal into frequency bands that mimic the frequency response and sensitivity of the ear, and then manipulate and integrate these bands while taking into account psychoacoustic phenomenon such as frequency and temporal masking, as well as the non-linear perception of loudness with varying signal intensity. The aim of all methods is to derive a numerical measurement that closely matches the subjective impression of the audio signal.
Accurate modeling of the non-linearity of the human auditory system forms the basis of perceptual models of loudness. In the 1930's, Fletcher and Munson found that the relative change in sensitivity decreased as the level of sound increased. In the 1950's, Zwicker and Stevens built on the work of Fletcher and Munson and developed more accurate and realistic models. FIG. 1, published by Zwicker, shows the growth of loudness of both a 1 kHz tone and uniform exciting noise (UEN, noise with equal power in all critical bands). For a signal level below what is often termed the �hearing threshold,� no loudness is perceived. Above this threshold, there is a quick rise in perceived loudness up to an asymptote where loudness grows linearly with signal level. Where FIG. 1 shows the non-linear behavior for a 1 kHz tone, the equal loudness contours of ISO 226 in FIG. 2 show the same behavior but as a function of frequency for sinusoidal tones. The contour lines, at increments of 10 phon, show the sound pressure levels across frequency that the human ear perceives as equally loud. The lowest line represents the �hearing threshold� as a function of frequency. At lower levels the lines of equal loudness compress closer together such that relatively smaller changes in sound pressure level cause more significant changes in perceived loudness than at higher levels.
This correction reduces the absolute value of the overall loudness scaling error Δsm. Ideally, as is evident from inspection of Eqn. 7a (there is no Δsm factor�the scaling error is set to zero), it is reduced to zero. In practical arrangements, the scaling error may not be zero as a result of calculation accuracy, signal processing time lags, etc. Also, as mentioned above, the size of each channel scaling delta Δsc may be taken into account in limiting the degree of reduction of the Δsm error factor.
An example of another way to apply a correction is to find a channel scaling delta Δs common to all channels, such that Δsc=Δs for all channels, which results in reducing the absolute value of the overall loudness scaling error Δsm. Ideally, as is evident from inspection of Eqn. 8 (there is no Δsm factor�the scaling error is set to zero), it is reduced to zero. In practical arrangements, the scaling error may not be zero as a result of calculation accuracy, signal processing time lags, etc. Plugging these constraints into Eqn. 6e yields the condition:
E [ b , t ] = λ b E [ b , t - 1 ] + ( 1 - λ b ) ∑ k  T [ k ]  2  C b [ k ]  2  X [ k , t ]  2 ( 9 ) where X[k,t] represents the STDFT of x[n] at time block t and bin k. T[k] represents the frequency response of a filter simulating the transmission of audio through the outer and middle ear, and Cb[k] represents the frequency response of the basilar membrane at a location corresponding to critical band b. FIG. 3 depicts a suitable set of critical band filter responses in which forty bands are spaced uniformly along the Equivalent Rectangular Bandwidth (ERB) scale, as defined by Moore and Glasberg (B. C. J. Moore, B. Glasberg, T. Baer, �A Model for the Prediction of Thresholds, Loudness, and Partial Loudness,� Journal of the Audio Engineering Society, Vol. 45, No. 4, April 1997, pp. 224-240). Each filter shape is described by a rounded exponential function and the bands are distributed using a spacing of 1 ERB. Lastly, the smoothing time constant λb in (9) may be advantageously chosen proportionate to the integration time of human loudness perception within band b.
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