{"id":252287,"date":"2026-07-13T01:56:07","date_gmt":"2026-07-12T22:56:07","guid":{"rendered":"https:\/\/1kitap1.com\/en\/audioxpress-july-2026-audioxpress\/"},"modified":"2026-07-13T01:56:07","modified_gmt":"2026-07-12T22:56:07","slug":"audioxpress-july-2026-audioxpress","status":"publish","type":"post","link":"https:\/\/1kitap1.com\/en\/audioxpress-july-2026-audioxpress\/","title":{"rendered":"audioXpress – July 2026 – audioXpress"},"content":{"rendered":"
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MPEG\u2011I makes that behavior portable and consistent by standardizing both representation and rendering. What Is MPEG\u2011I Immersive Audio (and Why 6DoF Matters) MPEG\u2011I 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.<\/p>\n

The format is open and interoperable, designed for longevity, suitable for streaming and file\u2011based operation, and explicitly compatible with MPEG\u2011H [5] 3D Audio for waveform coding\u2014objects, 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\u2011H.<\/p>\n

6DoF, however, demands a world model: rooms, shapes, surfaces, materials, occluders, portals, and air. That model is carried in the MPEG\u2011I 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.<\/p>\n

Authoring & Encoding begins with the Encoder Input Format (EIF), an XML\u2011based 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\u2014candidate reflection paths, diffraction edges, visibility lists, and perceptual alternatives such as low\u2011complexity early reflections (LC\u2011ER) where appropriate. The result is a compressed MPEG\u2011I metadata bitstream emitted alongside MPEG\u2011H audio signals (Figure 1).<\/p>\n

Transport & Storage uses the MPEG-H Audio Streaming (MHAS) stream format. MPEG\u2011I 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\u2013 server, broadcast, or stored as files; existing MHAS mechanisms support linking and synchronization. Decoding & Rendering feeds MPEG\u2011H waveforms to PCM while the MPEG\u2011I bitstream describes the acoustic scene and conveys complementary data.<\/p>\n

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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.<\/p>\n

Box 417, Chase City, VA 23924, US Periodical Postage paid at Chase City, VA, and additional offices. Head Office: KCK Media Corp. P.O. Box 417, Chase City, VA 23924, US Phone: 434-533-0246 Fax: 888-980-1303 Subscription Management: audioXpress P.O. Box 417, Chase City, VA 23924, US Phone: 434-533-0246 E-mail: custserv@audioxpress.com Internet: www.audioxpress.com Postmaster: Send address changes to: audioXpress P.O. Box 417, Chase City, VA 23924, US ____ Advertising: Elio Galo Phone\/Fax: 571-622-1295 Toll Free: 888-929-9402 E-mail: EGalo@audioxpress.com Advertising rates and terms available on request.<\/p>\n

____ Editorial Inquiries: Send editorial correspondence, suggestions, and contributed articles to: audioXpress, Editorial Department P.O. Box 417 Chase City, VA 23924, US E-mail: editor@audioxpress.com Legal Notice: Each design published in audioXpress is the intellectual property of its author and is offered to readers for their personal use only. Any commercial use of such ideas or designs without prior written permission is an infringement of the copyright protection of the work of each author.<\/p>\n

\u00a9 KCK Media Corp.<\/p>\n<\/blockquote>\n

This is a short excerpt from the opening of “” by Unknown, quoted for review and introduction purposes. All rights belong to the copyright holders.<\/em><\/p>\n

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