Dolby Laboratories Licensing Corporation

David Mcgrath

Glenn N Dickins

Mark Stuart Vinton

Rhonda J Wilson

Zhiwei Shuang

Dirk Jeroen Breebaart

Poppy Anne Carrie Crum

Alex Brandmeyer

Rishabh Tyagi

McGregor Steele Joyner

Andrea Fanelli

In some implementations, a method of encoding a low-frequency effect (LFE) channel comprises: receiving a time-domain LFL channel signal; filtering, using a low-pass filter, the time-domain LFE channel signal; converting the filtered time-domain LFE channel signal into a frequency-domain representation of the LFE channel signal that includes a number of coefficients representing a frequency spectrum of the LFL channel signal; arranging coefficients into a number of subband groups corresponding to different frequency bands of the LFE channel signal; quantizing coefficients in each subband group according to a frequency response curve of the low-pass filter; encoding the quantized coefficients in each subband group using an entropy coder tuned for the subband group; and generating a bitstream including the encoded quantized coefficients; and storing the bitstream on a storage device or streaming the bitstream to a downstream device.

Low-latency, low-frequency effects codec

Systems, methods, and computer program products are disclosed for adaptive downmixing of audio signals with improved continuity. An audio encoding system receives an input multi-channel audio signal including a primary input audio channel and L non-primary input audio channels. The system determines a set of L input gains. For each of the channels and gains, the system forms a respective scaled non-primary input audio channel. The system forms a primary output audio channel from the sum of the primary input audio channel and the scaled non-primary input audio channels. The system determines a set of L prediction gains. The system forms a prediction channel from the primary output audio channel. The system forms L non-primary output audio channels. The system forms an output multi-channel audio signal from the primary output audio channel and the L non-primary output audio channels.

Encoding of multi-channel audio signals comprising downmixing of a primary and two or more scaled non-primary input channels

Spatial audio signals are processed to generate a compressed representation of the spatial audio signal. Methods include analyzing the spatial audio signal to determine directions of arrival for one or more audio elements; for at least one frequency subband, determining respective indications of signal power associated with the directions of arrival; generating metadata including direction information that includes indications of the directions of arrival of the audio elements, and energy information that includes respective indications of signal power; generating a channel-based audio signal with a predefined number of channels based on the spatial audio signal; and outputting, as the compressed representation, the channel-based audio signal and the metadata. The compressed representation of a spatial audio signal can be further processed to generate a reconstructed representation of the spatial audio signal.

Multichannel audio encode and decode using directional metadata

Encoding/decoding techniques where multiple transform parameter sets are encoded together with a rendered playback presentation of an input audio content. The multiple transform parameters are used on the decoder side to transform the playback presentation to provide a personalized binaural playback presentation optimized for an individual listener with respect to their hearing profile. This may be achieved by selection or combination of the data present in the metadata streams.

Audio encoding/decoding with transform parameters

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Rose Bay, Australia

David Mcgrath