“LDK-Cube” and “Time-Space-Energy-Equalization” – Research presentation at AES Fall Show by Visiting Researcher Haiyan Xiang

Visiting Researcher in 2018-2019, Haiyan Xiang, is presenting her research '"LDK-Cube" and "Time-Space-Energy-Equalization: A Case Study of Binaural 3D Recording and Production of an Orchestral Concert with a Sound Reinforcement System in Operation' at the Audio Engineering Society (AES) Fall Show this month.

Haiyan Xiang is an MFA – National first level recording engineer, Vice Director of Chengdu Radio and TV Station and Pro Audio Committee, China Society of Motion Picture and Television Engineers. Haiyan visited CRiSAP on a one year Visiting Researcher programe during which time she conducted research that has fed into this research presentation - working with support from Prof Cathy Lane, Prof John Wynne and Lisa Hall, and with support from Dr Chris Pike BBC Research and Development and the China Scholarship Council.


LDK-Cube" and "Time-Space-Energy-Equalization: A Case Study of Binaural 3D Recording and Production of an Orchestral Concert with a Sound Reinforcement System in Operation

As for the real-time immersive sound recording and production for an orchestral concert amplified through a sound reinforcement system, how can a TV program be produced binaurally with real 3D ambience and audience capture, and potentially for the purpose of multi-platform distribution? This engineering brief describes innovative solutions applied at the 2020 Chengdu New Year Concert: a largely-spaced 3D microphone array for capturing hall ambience, named the LDK-Cube, with a process of Higher Order Ambisonics encoding and binaural rendering; and Time-Space-Energy-Equalization (TSEEQ), a novel concept which means optimizing time-space-energy composition, through an integrated process of spectral and spatial equalization/delay, timeline EQ/delay, and group delay, is first presented in this paper as an overarching principle for the solutions. The perception that sound reinforcement disarranges the recording, forcing broadcasting engineers to fall back on pre-recorded audience effects for years, has thus been subverted. Furthermore, binaural/transaural 3D encoded 2-channel recordings providing much better spatial perception, proved to be the future of the stereo, “bionic TSEEQ” is derivate thereof.

The full presentation is available online here.


The Audio Engineering Society AES Fall Show is online here.

The AES is the only professional society devoted exclusively to audio technology. Founded in the United States in 1948, the AES has grown to become an international organization that unites audio engineers, creative artists, scientists and students worldwide by promoting advances in audio and disseminating new knowledge and research. Read more about the AES here.