Spherical harmonic (SH) representations of sound fields are usually obtained from microphone arrays with rigid spherical baffles whereby the microphones are distributed over the entire surface of the baffle. We present a method that overcomes the requirement for the baffle to be spherical. Furthermore, the microphones can be placed along a circumferential contour around the baffle. This greatly reduces the required number of microphones for a given spatial resolution compared to conventional spherical arrays. Our method is based on the analytical solution for SH decomposition based on observations along the equator of a rigid sphere that we presented recently. It incorporates a calibration stage in which the microphone signals due to a suitable set of calibration sound fields are projected onto the SH decomposition of those same sound fields on the surface of a notional rigid sphere by means of a linear filtering operation. The filter coefficients are computed from the calibration data via a least/squares fit. We present an evaluation of the method based on the application of binaural rendering of the SH decomposition of the signals from an 18/element array that uses a human head as the baffle and that provides 8th ambisonic order. We analyse the accuracy and robustness of our method based on simulated data as well as based on measured data from a prototype.

We present a method for obtaining a spherical harmonic representation of a sound field based on a microphone array along the equator of a rigid spherical scatterer. The two-dimensional plane wave de-composition of the incoming sound field is computed from the microphone signals. The influence of the scatterer is removed under the assumption of distant sound sources, and the result is converted to a spherical harmonic (SH) representation, which in turn can be rendered binaurally. The approach requires an order of magnitude fewer microphones compared to conventional spherical arrays that operate at the same SH order at the expense of not being able to accurately represent non-horizontally-propagating sound fields. Although the scattering removal is not perfect at high frequencies at low harmonic orders, numerical evaluation demonstrates the effectiveness of the approach.

Additive noise produced by the recording hardware will contribute to streamed signals from spherical microphone arrays under practical conditions. For the application of binaural reproduction and under the assumption that the noise is uncorrelated between the array channels, the spectral properties and the overall level of the rendered noise in the ear signals have been shown to be strongly influenced by the configuration of the array as well as of the processing pipeline. In a previous investigation, we determined the audibility thresholds for changes in the rendered noise due to listener head rotations as a function of the differences in noise level of individual array channels. In this article, we calibrate the instrumental metric of Composite Loudness Level to the perceptual data and predict audibility of changes in the additive noise due to head rotations for a broad set of array configurations and distributions of the noise levels across array channels. We demonstrate that some types of microphone layouts can produce audible variations even if the noise level is equal in all channels. This is particularly the case for sampling grids that exhibit negative quadrature weights such as the Lebedev and Fliege-Maier grids for some spherical harmonic orders. The analysis of configurations with unevenly distributed noise contributions show that the influence of the noise from individual array channels is determined by the proximity of their virtual location to the relative trajectory of the ears.

Spherical microphone arrays are used to capture spatial sound fields, which can then be rendered via headphones. We use the Real-Time Spherical Array Renderer (ReTiSAR) to analyze and auralize the propagation of sensor self-noise through the processing pipeline. An instrumental evaluation confirms a strong global influence of different array and rendering parameters on the spectral balance and the overall level of the rendered noise. The character of the noise is direction independent in the case of spatially uniformly distributed noise. However, timbre of the rendered self-noise changes with head orientation in the case of spatially non-uniform noise. We determine audibility thresholds of the coloration artifact during head rotations for different array configurations in a perceptual user study.