audioXpress – July 2026 – audioXpress

MPEG‑I makes that behavior portable and consistent by standardizing both representation and rendering. What Is MPEG‑I Immersive Audio (and Why 6DoF Matters) MPEG‑I Immersive Audio is an ISO/IEC standard for compressed audio scene description and interactive 6DoF rendering. Listeners rotate freely (yaw, pitch, roll) and translate in space (x, y, z); as they move, the renderer updates the sound field in real time according to source properties, geometry, materials, acoustic environments, and local inputs.

The format is open and interoperable, designed for longevity, suitable for streaming and file‑based operation, and explicitly compatible with MPEG‑H [5] 3D Audio for waveform coding—objects, channels, and Higher Order Ambisonics (HOA). For real-time audio input, alternative audio codecs such as low delay speech codecs can carry the incoming sound, for example,3GPP IVAS [6]. Three degrees of freedom (3DoF) audio (rotating a sphere of sound around the head) is important and already addressed by MPEG‑H.

6DoF, however, demands a world model: rooms, shapes, surfaces, materials, occluders, portals, and air. That model is carried in the MPEG‑I metadata bitstream and auralized by a normative renderer whose pipeline models the physics listeners expect to hear. How It Works: Architecture and Core Technology The system can be understood in three parts: Authoring & Encoding, Transport & Storage, and Decoding & Rendering.

Authoring & Encoding begins with the Encoder Input Format (EIF), an XML‑based description of sources (objects, channels, HOA), positions and orientations, Spatially Extended Sound Sources (SESS), acoustic environments (rooms, outdoors), geometry (meshes and voxels), materials (reflection, transmission, absorption, coupling), transforms, and interactive updates. Encoders analyze this raw metadata and derive complementary data that accelerates rendering—candidate reflection paths, diffraction edges, visibility lists, and perceptual alternatives such as low‑complexity early reflections (LC‑ER) where appropriate. The result is a compressed MPEG‑I metadata bitstream emitted alongside MPEG‑H audio signals (Figure 1).

Transport & Storage uses the MPEG-H Audio Streaming (MHAS) stream format. MPEG‑I contributes three packet types (Scene Config, Scene Update, Scene Payload) so initialization, runtime changes, and the main metadata body travel efficiently. Streams can be multiplexed for client– server, broadcast, or stored as files; existing MHAS mechanisms support linking and synchronization. Decoding & Rendering feeds MPEG‑H waveforms to PCM while the MPEG‑I bitstream describes the acoustic scene and conveys complementary data.

Born to be Connected Why Passengers Finally Get to Have Fun Too By Sven Eisenhardt (Cinemo) Immersive Audio Building Flexible Immersive Home Audio Systems With UWB Spatial Sensing and Adaptive Rendering By Clement Arnardi (StreamUnlimited) MPEG-I Immersive Audio The Standard for Realistic VR/AR Sound By Andreas Silzle and Sascha Disch The Challenge Behind Believable XR By Arto Lehtiniemi (Nokia) Signal Processing A Software-Defined DAC Using Delta-Sigma Modulation By Joe Golightly and Henk Muller (XMOS) Fresh From the Bench EPC9192 Reference Design for EPC2307 eGaN FETs A New GaN Technology Option for Audio Amplifier Designs By Stuart Yaniger JULY 2026 www.audioxpress.com MANUFACTURING & DESIGNING TRANSFORMERS 1917 SINCE OPEN & ENCLOSED CHOKES PLATE & FILAMENT TRANSFORMERS TUBE OUTPUT TRANSFORMERS CHASSIS, PLATES & COVERS hammondmfg.com 4 | July 2026 | audioxpress.com ax July 2026 ISSN 1548-0628 www.audioxpress.com audioXpress (US ISSN 1548-0628) is published monthly, at $50 per year for the US, at $65 per year for Canada, and at $75 per year Foreign/ROW, by KCK Media Corp., P.O.

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• Unique ID: 3310ca4fa8f55118
• File Extension: .pdf
• File Size: 14,120,217 bytes (13.466 MB)
• Title: –
• Author: Unknown
• ISBN: 4345330246
• Pages: 69
• Language: English (en)

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