체감형 미디어 서비스를 위한 공간음향 기술 동향

이용주,유재현,장대영,이미숙,이태진,Lee, Y.J.,Yoo, J.,Jang, D.,Lee, M.,Lee, T. 한국전자통신연구원 2019 전자통신동향분석 Vol.34 No.3

Although virtual reality technology may not be deemed as having a satisfactory quality for all users, it tends to incite interest because of the expectation that the technology can allow one to experience something that they may never experience in real life. The most important aspect of this indirect experience is the provision of immersive 3D audio and video, which interacts naturally with every action of the user. The immersive audio faithfully reproduces an acoustic scene in a space corresponding to the position and movement of the listener, and this technology is also called spatial audio. In this paper, we briefly introduce the trend of spatial audio technology in view of acquisition, analysis, reproduction, and the concept of MPEG-I audio standard technology, which is being promoted for spatial audio services.

Effects of AI based Spatial Audio on Immersion and Physiological Responses in Users: A Comparative Study with Stereophonic Sound

경지민,박성준 국제인공지능학회 2025 International journal of advanced smart convergenc Vol.14 No.3

This paper propose a system to investigate the psychological impact to 3D sound on users. Growing demand for technological approaches to stress relief in the digital environments of modern society, spatial audio technology increasingly apply to various media content as an effective tool for enhancing a sense of presence and immersive experiences. However, there is still a lack of empirical data regarding the physiological effects of spatial audio on users in gaming environments. This study conducted an experiment using identical game content with two different sound settings: spatial audio (5.1 channel) and stereo audio. Based on EEG (electroencephalogram) data collected during game play, the study compared the effects of each sound environment on stress reduction. The experimental results empirically verify the positive impact of spatial audio on psychological stability and provide insights for designing immersive sound environments in games. These findings may help develop more effective audio-based stress reduction strategies and expand spatial sound applications in entertainment and therapy.

몰입형 공간음향이 음악산업에 미치는 영향과 미래전망

유현식 대중음악콘텐츠학회 2024 대중음악콘텐츠 Vol.8 No.2

With the advancement of digital technology, the music industry has undergone significant changes. This study aimed to investigate the impact of immersive spatial audio on the music industry and its future prospects to contribute to its sustainable development. To achieve this, literature review and case analysis were conducted to analyze the current state of industrial application and the influence of immersive spatial audio. The research findings indicated that immersive spatial audio has positive effects such as expanding artists' creative diversity, strengthening interaction with fans, and creating new revenue models. However, challenges such as technical barriers and fairness in revenue distribution were also identified. Based on these results, the study suggests the necessity of building an inclusive ecosystem and establishing fair policies for the sustainable development of the music industry. This study presented the potential of immersive spatial audio to illuminate the future of the music industry and provided insights into the industry's development direction.

시각과 청각에 의한 공간적 지각에 관한 연구

이채봉,강대기,Lee, Chai-Bong,Kang, Dae-Gee 한국융합신호처리학회 2010 융합신호처리학회 논문지 (JISPS) Vol.11 No.2

Psychophysical experiment was performed to investigate how audio-visual spatial disparity affects on perceptual space in peripheral vision. In the experiment, participants were exposed to two stimuli of vision and sound which comes simultaneously from different directions, respectively. The visual stimulus was implemented by 7 white LEDs which were located at an equal distance with 7 different angles of $-70^{\circ}$, $-40^{\circ}$, $-20^{\circ}$, $0^{\circ}$, $20^{\circ}$, $40^{\circ}$, and $70^{\circ}$ from the right front. Those audial stimuli were also implemented by loudspeakers which were placed at 9 different directions equally spaced by $5^{\circ}$ ranged from $-20^{\circ}$ to $20^{\circ}$. Each participant then evaluated spatial disparity between visual and audial stimuli with 5 levels of response, in which the higher level indicates the larger gap. When the visual stimulus is applied from the right, the results show that the response level gets higher for a larger angle between visual and auditory stimuli. A similar tendency for the visual stimulus with $0^{\circ}$ orientation was also be observed. On the other hand, when the visual stimulus is applied from the left, the response level gets lower for the larger angle.

Composing with Uncertainty: Semi‑Indeterminacy as an Artistic Method for Immersive Spatial Audio

베리 육 분 완 한국전자음악협회 2025 에밀레 Vol.23 No.-

This article considers how uncertainty may become a compositional ally when working with immersive spatial audio. Rather than treating automation and randomness as technical conveniences, the study approaches them through the older, slower pathways of Chinese cosmology. The shifting tensions of Yin and Yang, the cyclic breaths of the Five Phases, and the directional intuitions of Bagua and the Stems and Branches are taken not as metaphors but as working structures—forms of thought that quietly shape decisions about movement, balance, and spatial attention. Within this framework, semi-indeterminacy arises as a way of composing that allows sound to wander without losing its thread, and permits the unexpected to remain tethered to intention. Using Envelop for Live (E4L) as a practical site of experiment, the paper traces how these cosmological logics can guide the emergence of trajectories, densities, and transitions in three-dimensional diffusion. Across installation, fixed media, and live performance, the methods described reveal a mode of practice in which technology and symbolic order continually reflect one another. What unfolds is a spatial imagination grounded not in control or chance alone, but in the shifting interval between them.

Angle-Based Virtual Source Location Representation for Spatial Audio Coding

백승권,서정일,문한길,강경옥,한민수 한국전자통신연구원 2006 ETRI Journal Vol.28 No.2

Virtual source location information (VSLI) has been newly utilized as a spatial cue for compact representation of multichannel audio. This information is represented as the azimuth of the virtual source vector. The superiority of VSLI is confirmed by comparison of the spectral distances, average bit rates, and subjective assessment with a conventional cue.

Transforming Neural Activity into Generative Audio-Visual Art: An Interplay Between Brain Data, Music, and Visuals

엄시현,Federico Sangiuliano Jimka,Daniel Aharoni 한국전자음악협회 2024 에밀레 Vol.22 No.-

This interdisciplinary project integrates neuroscience and multimedia art by transforming calcium fluorescence imaging data from hippocampal CA1 and retrosplenial cortex (RSC) regions of awake, behaving mice into generative audio-visual experiences. Neural activity, derived from calcium traces, is analyzed in TouchDesigner to produce dynamic visual outputs influenced by movement, size, and shape. Simultaneously, neural data inform music creation through Max MSP, manipulating elements such as filter settings and dynamics. Additional musical components, composed in Logic Pro, respond to the visuals, which in turn influence subsequent visual adjustments in TouchDesigner. This reciprocal interaction between audio and visuals, grounded in neural activity, provides a unique framework for interpreting and creatively expressing the complexities of brain dynamics.

VR 콘텐츠의 공간 오디오 상호작용 사례 연구

황수민 ( Hwang Sumin ),한정엽 ( Han Jungyeob ) 한국공간디자인학회 2020 한국공간디자인학회논문집 Vol.15 No.8

(Background and Purpose) There has been a heightened interest in realistic contents that provide information and experiences through human sensory organs amid the recent commercialization of 5G technology that enables creation of environment for immersive and real-time experiences. For such experiences, auditory experience, as well as visual experience, is important, and most of the studies thus far have focused on the modes of visual-centered interactions. Thus, the purpose of this study was to analyze actual cases of spatial audio interaction in VR contents so as to propose the possibility and courses for novel modes of interaction made by using the spatial sound, shifting away from conventional modes of visual-centered interaction. (Method) Based on literature review and Norman's model of interaction cycle by phase, we derived the behavioral characteristics of the process of interaction with user, experiencing the VR contents, through Spatial Audio in VR contents. (Results) The cases of Spatial Audio interaction showed the following characteristics. First, it was found that the directional type of Spatial Audio was used to indicate the location of the initial emergence of objets into the world from certain incident or to inform the user, experiencing the VR contents, of the position of storytelling. Second, it was found that the distance sense type of Spatial Audio was used as a method for alerting the user to the narrowing distance between the user himself/herself and the objets, or as a method for inducing certain behaviors according to the variation of the location of the audio and the user. Third, the predictability type of Spatial Audio was found to allow the objects to be predicted only with the sound that objets had in the same way as in virtual reality. Fourth, the attention type of Spatial Audio was short and the intensive led the user to avert the gaze of user instantly. Fifth, the communication type of Spatial Audio allowed the user, experiencing the virtual contents, to stare at the character telling the story or to be engaged in realistic conversation. (Conclusions) In VR contents, spatial audio was found to be an important element of suitable interaction design in developing the interactive tools. VR contents interact with participants who are using VR contents through sensory information similar to that of reality, but have limitation to their application of the existing modes of media interaction occurring on flat displays. This researcher hopes that the characteristics of spatial audio interaction, presented through this study, would help create a basis for designing the course for audio UIs in the period ahead and be utilized for auditory experience in VR contents.

오디오 핑거프린팅기반 입체음향 재현 시스템

류상현(Sang Hyeon Ryu),김형국(Hyoung-Gook Kim) 대한전자공학회 2013 전자공학회논문지 Vol.50 No.12

Analysis of Spectral Characteristics of Audio Object for Enhancement of Spatial Audio Object Coding

김광기 한국지식정보기술학회 2015 한국지식정보기술학회 논문지 Vol.10 No.1

This paper describes a method that can enhance the performance of spatial audio object coding (SAOC) with two-step coding structure to make a multi-object based audio service with users' interaction. In the proposed method, frequency bands and bit-rate of a residual signal can be variably decided by analysing the spectral characteristics of a specific audio object such as vocal object to efficiently handle the residual signal which is used to precisely control the specific audio object. The proposed method divided the frequency band of the specific audio object into five frequency regions including silence according to the spectral characteristics of the specific audio object. From the analysis result, most audio objects including vocal object have about more than 20 percents low frequency region compared with the original fixed frequency band to be 0 to 5.5 kHz. Consequently, the proposed method showed the high bit-rate reduction of about 28.6 percents for test items and about more than 10 percents for audio objects. Especially, since the bit-rate of the vocal object which is mainly used in KARAOKE application scenario can be greatly reduced as about 15 percents, it can be confirmed that the proposed method can enhance the original SAOC with two-step coding structure.