Sound spatialization module

Abstract

The present invention relates to a sound spatialization module, comprising: a user interface configured to receive sound trajectory parameters entered by a user, and a data processing system coupled to the user interface, configured to: receive an input sound signal, calculate, from the sound trajectory parameters entered by the user, at least one spatial trajectory (21, 22) of a sound source, and generate, from the input sound signal, a spatial distribution of a loudspeaker array (10), and the calculated spatial trajectory (21, 22), a plurality of respective output signals for respective inputs of the loudspeaker array, such that outputs of the loudspeaker array cause a spatial perception of an output sound signal according to the spatial trajectory. Figure for abstract: Fig. 3C

Description

Title of the invention: Sound spatialization module FIELD OF THE INVENTION

[0001] The present invention relates to the production of spatialized sound to create an immersive acoustic environment. More specifically, the invention relates to a device and a method for spatializing sources in a sound field. STATE OF THE ART

[0002] Currently, the demand for audio is not limited to higher sound quality, but listeners also want to benefit from an immersive sound experience. By immersive experience, it is understood that the listener has the sensation of being inside a sound environment rather than being in a standard monophonic or stereophonic listening environment. Such an immersive sound experience can be generated alone or, for example, complement a visual immersive experience in virtual reality applications.

[0003] To achieve such a sound experience, a loudspeaker system is typically installed in a space around the listeners. The loudspeakers provide immersive sound in this space. However, systems that provide a realistic immersive experience require bulky and expensive equipment and are reserved for professional productions. In addition, it is necessary to adapt the system on site to optimize the performance of the sound experience, which involves testing and long and often complex preparation. It is therefore difficult to achieve immersive sound experiences in a live performance and improvisation environment, or even in a studio or for personal use.

[0004] Current systems available in such a context cannot meet certain needs in interactive music. In particular, there is no interface available to create an impression of movement of one or more sound sources in the space around a listener in an ergonomic manner. In addition, the fact that loudspeakers are often installed irregularly or asymmetrically must be taken into account. Statement of the invention

[0005] An aim of the invention is to provide a sound spatialization system making it possible to generate movement effects of one or more sound sources in an environment perceived by a listener.

[0006] To this end, the invention proposes a sound spatialization system, comprising: • a user interface configured to receive sound trajectory parameters entered by a user, and • a data processing system coupled with the user interface, configured to: • receive an input sound signal, • calculate, from the sound trajectory parameters entered by the user, at least one spatial trajectory of a sound source, and • generating, from the input sound signal, a spatial distribution of a loudspeaker array, and the calculated spatial trajectory, a plurality of respective output signals intended for the respective inputs of the loudspeaker array, such that outputs of the loudspeaker array cause a spatial perception of an output sound signal according to the spatial trajectory.

[0007] The calculation of sound trajectories from the parameters makes it possible to generate a multitude of possible trajectories by varying the parameters.

[0008] Preferably, the user interface is configured for user input of at least one parameter from a low frequency oscillator type function having a predefined waveform, amplitude, frequency and phase.

[0009] This makes it possible to generate a high number of trajectories while minimizing the parameters to be entered, which also makes it possible to use a simpler and less energy-intensive data processing system than a standard computer, for example an embedded system.

[0010] Advantageously, the user interface is configured for user input of a low frequency oscillator type function selected from a sawtooth waveform, a sinusoidal waveform, a uniform triangular waveform, a rectangular waveform or a noise function.

[0011] Advantageously, the data processing system is configured to assign each parameter entered to a spatial coordinate.

[0012] In some embodiments, the user interface is further configured for user input of at least one parameter selected from a rotation and a translation of the sound trajectory.

[0013] Preferably, the calculation of each trajectory comprises the definition of a forbidden sphere around a central listening position, said forbidden sphere having a prohibition radius, such that the distance between each point on the parameterized trajectory and the central listening position is greater than or equal to the prohibition radius.

[0014] In some embodiments, the calculation of each trajectory comprises the addition of a delay adapted to simulate a Doppler effect of the trajectory.

[0015] The module may further comprise a visual control unit configured to display the position of at least one loudspeaker and at least one sound trajectory pa- brought into a virtual space.

[0016] The invention also relates to a system for generating a spatialized sound field, comprising: • a sound spatialization module as described above, • an input sound signal source, and • a loudspeaker array, each loudspeaker being configured to receive a respective output signal, the loudspeaker array defining a listening space in which the loudspeaker outputs in combination enable spatial perception of a virtual sound source.

[0017] The invention also relates to a sound spatialization method comprising: • the reception of a recorded sound signal; • receiving a set of sound parameters entered by a user in a user interface; • the generation of at least one parameterized spatial trajectory from • the entrance sound signal, • sound parameters entered by the user and • a spatial distribution of a network of loudspeakers; • generating a set of output signals from each spatial trajectory, each output signal being intended for a respective input of the loudspeaker array, so that the loudspeaker outputs in combination enable spatial perception of a virtual sound source.

[0018] Preferably, the method further comprises determining at least one parameter among a frequency, an amplitude, a phase and / or a spatial movement of the recorded sound signal.

[0019] Advantageously, the method further comprises synchronizing at least one spatial trajectory with a clock upon receipt of a sound parameter entered by the user.

[0020] The method may further comprise an interruption during which the current position on each sound trajectory is kept constant, so as to create a stop in the spatial movement of the virtual sound source.

[0021] The invention also relates to a computer program product comprising instructions which, when the program is executed by a computer, cause the latter to implement a method as described above.

[0022] The invention also relates to a method for generating an immersive sound field, comprising a step of recording a set of sound data by one or more microphones, a sound spatialization method as described above, and the generation of a sound by a network of loudspeakers, each loudspeaker receiving a respective output signal, so that the outputs of the network of loudspeakers allow spatial perception of an output sound signal according to the generated trajectory. DESCRIPTION OF FIGURES

[0023] Other characteristics and advantages of the invention will emerge from the detailed description which follows, with reference to the appended drawings, in which:

[0024] [Fig.l] illustrates a user interface according to one embodiment.

[0025] [Fig.2] shows different waveforms that can be used for pa trajectories refining.

[0026] [Fig.3A] represents a helical sound trajectory.

[0027] [Fig.3B] represents a sound trajectory in the form of a flower.

[0028] [Fig.3C] represents a sound trajectory in the form of a square helix.

[0029] [Fig.3D] represents a sound trajectory in the form of a gear wheel.

[0030] [Fig.4] illustrates two trajectories maintaining a minimal radius around a central point. DETAILED DESCRIPTION OF THE INVENTION

[0031] The subject of the invention is a module for spatializing a sound field from an input sound signal.

[0032] From the input sound signal and a number of parameters entered by a user, a set of output signals is created which is transmitted to a loudspeaker network. Following reception of the respective output signals, the loudspeaker network generates a sound field giving a listener the impression of spatial movement of the input sound signal.

[0033] A loudspeaker array is understood to mean a plurality of loudspeakers with a predefined spatial distribution. For example, such an array may comprise 8 or 12 loudspeakers. In a particular embodiment, the array comprises only two loudspeakers, for example in the form of a headset (binaural listening).

[0034] The loudspeakers of the array are preferably arranged around a central listening position Po. The arrangement of the loudspeakers may have axial or rotational symmetry, or be irregular or asymmetrical.

[0035] The sound spatialization module may be a physical module powered by the input sound signal and in communication with the loudspeaker network. Alternatively, the module is in the form of a computer program installed on a computer or in an embedded system. In this case, the computer or embedded system receives the input sound signal. For example, the computer or embedded system is in communication with each microphone used for recording the original sound signal. Alternatively, the computer or embedded system receives a digitized signal of an analog input signal or a existing sound file. The computer or embedded system is communicating with the speaker network.

[0036] The spatialization module comprises a computer program recorded in a memory for computer-readable data storage and comprises code for executing the parameterization steps.

[0037] The sound spatialization module comprises an input for receiving the input sound signal and a set of outputs configured to send a respective signal to each loudspeaker of the loudspeaker network.

[0038] With reference to [Fig.l], the module comprises a user interface. The user interface allows a user to enter one or more parameters defining the spatial trajectory of the sound signal perceived by the listener. The user interface comprises a function 16 for choosing the coordinate system, typically between spherical coordinates r, 0 and qy or Cartesian coordinates x, y, z

[0039] The interface comprises elements, for example rotary knobs, for the user to enter data for each spatial coordinate. With reference to [Fig.l], the interface comprises an element 17 configured to define a function of the low frequency oscillator (LFO) type. The interface comprises other elements allowing the user to choose an amplitude (knobs A), a frequency f (knobs 5) and a phase p (knobs 3) for each spatial coordinate. The role of each of these parameters will be explained below.

[0040] The set of parameters entered by the user makes it possible to define a spatial trajectory of a sound signal in a virtual space. The sound signal moves in this virtual space along a trajectory (rs(t), 0s(t) and q>s(t)) in spherical coordinates or a trajectory (xs(t), ys(t) and zs(t)) in Cartesian coordinates. A data processing system coupled to the user interface is configured to assign each parameter entered by the user to a spatial coordinate.

[0041] Optionally, the values ​​of these coordinates can be displayed for a given time, for example as a bar chart (not shown). One or more parameters can be predefined and can optionally be modified by the user. The user interface can further have functions 15 such as applying or removing the Doppler effect. The operator can interrupt or reset the trajectory via functions 13, 14 which are described below.

[0042] In preferred embodiments, the user interface can further receive at least one parameter 1, 2 from a rotation Ar and a translation Ad. These parameters make it possible to respectively perform a translation and / or a rotation of the generated trajectory.

[0043] In some embodiments, the user interface comprises a wheel 4 or another speed adjustment element v for setting the speed of a master clock. Such a master clock can be integrated into the module. Alternatively, a master clock, for example a software clock based on the MIDI protocol (acronym for the English term "Musical Instrument Digital Interface"), can be connected to the trajectory generation module.

[0044] Advantageously, the module makes it possible to save predefined settings in the user interface and to load previously programmed settings. In this case, the user interface includes the commands for performing such a recording.

[0045] In some embodiments, an element of the user interface allows the user to choose either a single input signal source or a set of input signal sources to consider simultaneously.

[0046] In some embodiments, the user interface also comprises a display device, for example a screen or a projection means, making it possible to display a trajectory of a sound signal visually in a virtual space. Preferably, the display device makes it possible to simultaneously display the position of each loudspeaker, the central listening position Po and at least one sound trajectory generated by the spatialization module. This allows an objective visualization of the sound trajectories. Thus, the user can modify the parameters entered and display the modification of the sound trajectory caused by this modification. The user can thus adjust the sound trajectories in the virtual space with greater precision.

[0047] In order to obtain a set of respective signals to be sent to the loudspeaker network, the recorded sound signal is decomposed into spherical harmonics b / ,m(t) and uses only the harmonics up to a degree l and an order m, l being a natural number and m an integer, with Iml < l.

[0048] Each signal gn(t) is subsequently calculated for each loudspeaker n as a function of time t. These signals can for example be calculated using the SAD technique (acronym for the English term Sampling Ambisonic Decoder). This approach makes it possible to generate the respective signals gn(t) in a simplified manner, requiring a limited number of calculation steps and which can be implemented by a simple computer system, for example an embedded system.

[0049] In order to obtain a signal gn(t) for each loudspeaker n giving the impression of a displacement in space of the sound source, the data processing system calculates the evolution over time of three spatial coordinates of the sound source perceived by the listener. This evolution over time corresponds to a sound trajectory.

[0050] Advantageously, each sound trajectory is represented in spherical coordinates rs(t), 0s(t) and <ps(t). Cette représentation peut directement être utilisée pour la generation of all gn(t) signals intended for the loudspeaker network by the data processing system.

[0051] Alternatively, one or more trajectories can be represented in Cartesian coordinates xs(t), ys(t) and zs(t). Typically, a representation adapted to the shape of the spatial trajectory to be generated is chosen, and, if necessary, a conversion into spherical coordinates is carried out.

[0052] In order to express the spatial coordinates of a spatial trajectory in a parameterized manner, at least one function of the LFO type is used. Such an LFO function is a periodic function in time oscillating around a zero mean value.

[0053] Each LFO function has a predefined waveform, frequency, amplitude and phase. [Fig.2] illustrates different basic LFO functions that can be used for spatial trajectory generation.

[0054] Functions 2A and 2B correspond to sawtooth waveforms with opposite sawtooth directions. Function 2C corresponds to a

[0055] sine wave. The 2D function represents a uniform triangular waveform. The 2E function corresponds to a rectangular waveform, and the 2F function is a noise function, for example white noise.

[0056] Definition of a spatial trajectory:

[0057] The user first chooses a coordinate system adapted to the geometry of the trajectory via the coordinate selection function 16 of the user interface. He then defines each spatial coordinate of the trajectory.

[0058] For this purpose, the user can select one LFO function per spatial coordinate via the corresponding wheel 17 of the user interface. The user then defines an amplitude A for each LFO function. In the case of a negative amplitude, the LFO function is interpreted in an inverted orientation, i.e. the direction of the sound trajectory is reversed. The user also enters a frequency f and a phase p for each function of the spatial coordinate. In some embodiments, the user can choose to synchronize the frequency with a main clock of the trajectory generation module or an external clock in communication with the module. Preferably, the synchronization is selected separately for each spatial coordinate. Adjusting the phase p allows the LFO function to be shifted in time.

[0059] The user can modify the amplitude A in order to apply an identical amplitude factor simultaneously to all the chosen LFO functions, which results in a dilation of the trajectory.

[0060] In some cases, the user will choose constant or zero functions for one or more spatial coordinates. Different combinations of the LFO functions and adjust the frequency, phase and amplitude of each LFO function to obtain the desired spatial trajectory. A set of six LFO functions as illustrated in [Fig.2] allows the generation of a large number of spatial trajectories and is typically sufficient for the intended applications.

[0061] The time evolution of each coordinate is calculated from a time to=O.

[0062] The set of three spatial coordinates as a function of time defines the spatial trajectory of the sound according to the perception of the user positioned in a central listening position Po.

[0063] From the parameters entered by the user and, where applicable, the predefined parameters, the conversion module executes a program to calculate the spherical coordinates rs(t), 0s(t) and <ps(t) d’une ou plusieurs trajectoires sonores. Exemple 1

[0064] [Fig.3A] illustrates a first example of a spatial trajectory of a sound in a virtual space. The listener is placed at the central listening position Po surrounded by a network of loudspeakers 30. The trajectory 20A of the sound in the virtual space perceived by such a listener is in the form of a helix.

[0065] Such a shape can be more easily expressed in Cartesian coordinates. By defining the axis of the helix as the Z axis, the trajectory can be parameterized as follows:

[0066] (^) = a^in 2]rfQt + pQ)

[0067] y,(0 =^1^2^( / ^+^ + 0.25))

[0068] (t) - a2sawtooth (f, p, t)

[0069] The abscissa xs(t) is a sine wave of amplitude a0, frequency f0 and phase po, The ordinate ys(t) is a cosine wave with respect to xs(t), obtained from a sinusoidal waveform where the phase is fixed at pi = p0 + 0.25. Its amplitude is ab With fi = f0, the horizontal trajectory is an ellipse with the semi-axes a0 and a,. By choosing a0 = ab the trajectory in the horizontal plane becomes circular.

[0070] The height zs(t) has a sawtooth waveform of frequency f2, amplitude a2, phase p2 defines the height of the helix. The corresponding parameters can be set in the user interface.

[0071] For the generation of the signals gn(t) intended for the loudspeaker network, a conversion from Cartesian coordinates to spherical coordinates is carried out. Example 2

[0072] [Fig.3B] illustrates a second example of a spatial trajectory. The trajectory 20B has the shape of a flower in a horizontal plane around the central listening position. As in [Fig.3A], the listener is placed at the central listening position Po surrounded by a network of 30 speakers.

[0073] In spherical coordinates, a flower-shaped trajectory centered on the origin in the horizontal plane can be parameterized as follows: [OO74] = a^in(17T[fçt+pj + 1) + rmin

[0075] j _ a}Sawtooth (Irrfj + p^}

[0076] <PS(O=O

[0077] The first LFO function causes a sinusoidal variation of the radius rs(t) with a minimum radius rmin. The second LFO function is a sawtooth waveform that produces a linear increase in the azimuth angle 0s(t). The third LFO function maintains zero amplitude and phase, so that the trajectory remains on the horizontal plane. Example 3

[0078] [Fig.3C] illustrates a third example of a spatial trajectory. The trajectory 20C has the shape of a square helix extending along a vertical axis Z. The listener 40 is placed at the central listening position Po on the vertical axis Z and surrounded by an array of loudspeakers.

[0079] This trajectory can be parameterized as follows in Cartesian coordinates:

[0080] ( t ) - a^triangle ( + pQ j

[0081] y J f ) - aitriangle[27i(f^+p{}+0.25 ))

[0082] ( t ) - a^sawtooth p, t )

[0083] For the generation of the gn(t) signals intended for the loudspeaker network, a conversion from Cartesian coordinates to spherical coordinates is carried out. Example 4

[0084] [Fig.3D] illustrates a fourth example of a spatial trajectory. The trajectory 20D has the shape of a gear disc in a horizontal plane around the central listening position Po. The listener 40 is positioned at the central listening position Po and surrounded by an array of loudspeakers.

[0085] This trajectory centered on the origin in the horizontal plane can be parameterized as follows in spherical coordinates:

[0086] a^awtooth (2rr (fQt + p^ + 1) + rmin

[0087] / ) - a^sawtooth( 2^- / ^+p{ j

[0088] ^(f)=0

[0089] From these concrete examples, we understand the great variety of trajectories possible by varying the waveforms, the frequency, the amplitude and the phase ratio. between the respective LFO functions. Since LFOs are periodic functions, except for the waveform as noise, the resulting trajectories are also periodic as long as the user-entered parameters are kept constant. Therefore, such trajectories can be adapted to a repetitive sound signal such as that found in electronic music, for example.

[0090] Note, however, that it is quite simple to evolve the trajectory over a long period of time or to modulate it, by slightly varying a frequency ratio between the LFO functions.

[0091] It can be noted from the example of the helix trajectory that the phase relationship between the LFOs is essential to define the trajectory. Since the phase at the origin is defined independently for each LFO function, it is necessary to maintain synchronization between the LFO functions when parameters such as the frequency or amplitude of the trajectory are modified.

[0092] In some embodiments, all LFOs are reset to t = 0 as soon as one of these parameters changes in order to maintain their synchronization. Therefore, in virtual space, the source returns to the beginning of the trajectory while the user modifies the entered parameters.

[0093] It may be noted that a very rapid random position change effect can be produced in this way, using the noise waveform following a noise waveform. Indeed, when the LFO is reset, a new value is generated for the noise, which results in an immediate change of the assigned coordinates. Forbidden sphere:

[0094] With reference to [Fig.4], a forbidden sphere having a prohibition radius rmin around the central listening position Po is typically introduced into the trajectory. The forbidden sphere makes it possible to avoid excessive amplification of the signal (or even a singularity in the case rs = 0, causing a sound of maximum intensity). Such amplification can be caused due to an amplification proportional to 1 / r which is for example applied when using stabilization of the output signal by proximity compensation filters (NFC, acronym for the English term "Near Field Compensation"). This excessive amplification is known as the "bass boost effect". Such amplification causes a sound which can be harmful to the loudspeakers and the hearing of the listener.

[0095] Thus, in the virtual space generated by the network of loudspeakers, each trajectory 21, 22 of a sound source is forced to remain at a distance greater than the prohibition radius rmin from the central listening position Po.

[0096] The signal rs(t) is compared to rmin and equalized to it if it turns out to be smaller. Meanwhile, the angles 0s(t) and 0s(t) continue to evolve. The interdiction radius rmin can for example be set to 0.5 m.

[0097] Other specific functions may be made available optionally. Doppler effect

[0098] When calculating the output signals, a delay At corresponding to the propagation time rs / c of ​​the sound from my sound source to the origin is applied to the recorded signal, c being the speed of sound in air. When the source moves, this delay At is modified and can produce a Doppler effect. This results in a modification of the frequency of the recorded signal, which can be an undesirable effect. The spatialization module can therefore provide to let the user choose the application of the delay At when the sound source is moved. Note that a playability problem can arise if the propagation delay At is too large. For example, if the user places the source 10 m away while playing on a keyboard, it will take about 29 ms before hearing the sound. In such a case the delay At is typically removed or reduced via the user interface, for example by checking a box in the user interface. Interrupt and reset

[0099] With reference to [Fig.l], an interrupt function 14 (“Hold”) makes it possible to stop the oscillation of the LFO functions and to maintain them at their current value. As a result, in the virtual space the sound source stops on its trajectory.

[0100] As soon as the interrupt function is released, the source continues to move along its trajectory. Similarly, a reset function 13 (“Reset”) can be used to move the source to the beginning of its trajectory when activated. Scale and speed

[0101] The amplitude of the LFO functions is chosen by the user with a parameter a between zero and one. A scale function 6 allows the amplitude of the LFO functions to be multiplied by an additional scale factor. This allows the entire spatial trajectory to be scaled. For Cartesian coordinates, this function is performed by multiplying each LFO function by the scale factor.

[0102] For spherical coordinates, only the LFO function assigned to the radius rs(t) is multiplied by this scale factor. Similarly, a velocity function can multiply each frequency used in an LFO function by a factor, which results in an acceleration of the source along its trajectory. Rotation and translation

[0103] The coordinate system in which the trajectories are expressed is centered on the central listening position Po. A rotation function Ar can be applied and allows the coordinate system to be rotated around the z, y and x axes with the yaw, pitch and roll angles respectively. Similarly, a translation Ad can be performed along the x, y and z axes. Therefore, the trajectories can be rotated and translated. Display

[0104] Although the generation of spatial trajectories can be intuitive, it is difficult to rely solely on one's auditory system to accurately locate the position of the sources and follow the trajectories. In addition to the limitations of human spatial perception, localization performance can degrade depending on the spatial resolution and sound quality of the loudspeaker array. A visual control unit can therefore be associated to provide a visual perception of the generated trajectories, such as, for example, the display of the trajectories in FIGS. 3A to 3D. Such a display makes it possible to visualize, for example, the head of a mannequin, centered on the central listening position Po and looking in the direction of the positive x axis. Preferably, the proportions are preserved and the dimensions are expressed in meters.Speakers can be represented by dots whose size and color can change depending on the output signal level.

[0105] The successive positions of each sound source can for example be transmitted from the spatialization module to a display device and can be stored in a database of the “FIFO” type, an acronym for First In First Out. Such a memory typically only stores a set of the last positions, for example the last 500 positions. The number of positions stored can be modified at any time by the user.

[0106] Trajectories can be drawn in virtual space by connecting successive positions with lines. The current position of the source is for example indicated by a colored ball. The visual control unit can allow the user to move, enlarge or put a virtual camera in a panoramic mode to improve its perspective visualization.

[0107] The present invention opens up interesting perspectives in the field of musical composition and production. Thanks to the facilitation of the creation of sound trajectories and the spatialization of sound, it offers new artistic possibilities for live music and the sound staging of events, concerts and other musical content. The markets of interest for this invention are diverse, ranging from the manufacture of electronic musical instruments such as modular synthesizers and mixing desks, to the publication of Computer Aided Music (CAM) software.

Claims

Claims

1. Sound spatialization module, comprising: • a user interface configured to receive sound trajectory parameters entered by a user, and • a data processing system coupled to the user interface, configured to: • receive an input sound signal, • calculate, from the sound trajectory parameters entered by the user, at least one spatial trajectory (21, 22) of a sound source, and • generate, from the input sound signal, a spatial distribution of a loudspeaker array (10), and from the calculated spatial trajectory (21, 22), a plurality of respective output signals intended for the respective inputs of the loudspeaker array, such that outputs of the loudspeaker array cause a spatial perception of an output sound signal according to the spatial trajectory.

2. Sound spatialization module according to claim 1, in which the user interface is configured for the input, by the user, of at least one parameter from a function of the low frequency oscillator type (2A, 2B, 2C, 2D, 2E, 2F) having a predefined waveform, an amplitude (A), a frequency (f) and a phase (p).

3. Sound spatialization module according to claim 2, in which the user interface is configured for the input, by the user, of a function of the low frequency oscillator type (2A, 2B, 2C, 2D, 2E, 2F) chosen from a sawtooth waveform, a sinusoidal waveform, a uniform triangular waveform, a rectangular waveform or a noise function.

4. Sound spatialization module according to one of claims 1 to 3, in which the data processing system is configured to assign each parameter entered to a spatial coordinate.

5. Sound spatialization module according to one of claims 1 to 4, in which the user interface is further configured for the input, by the user, of at least one parameter chosen from a rotation (Ar) and a translation (Ad) of the sound trajectory.

6. Sound spatialization module according to one of claims 1 to 5, in which the calculation of each trajectory (21, 22) comprises the definition of a forbidden sphere around a central listening position (P o), said forbidden sphere having a prohibition radius (rmin), so that the distance between each point on the parameterized trajectory and the central listening position (Po) is greater than or equal to the prohibition radius (rmin).

7. Sound spatialization module according to one of the preceding claims, in which the calculation of each trajectory (21, 22) comprises the addition of a delay (At) adapted to simulate a Doppler effect of the trajectory.

8. Sound spatialization module according to one of the preceding claims, further comprising a visual control unit configured to display the position of at least one loudspeaker (10) and at least one sound trajectory (21, 22) configured in a virtual space.

9. System for generating a spatialized sound field, comprising: • a sound spatialization module according to one of claims 1 to 8, • an input sound signal source, and • a loudspeaker array (10), each loudspeaker (10) being configured to receive a respective output signal, the loudspeaker array defining a listening space in which the outputs of the loudspeakers in combination allow a spatial perception of a virtual sound source.

10. A method of sound spatialization comprising: • receiving a recorded sound signal; • receiving a set of sound parameters entered by a user in a user interface; • generating at least one spatial trajectory (21, 22) parameterized from • the input sound signal, • the sound parameters entered by the user and • a spatial distribution of a network of loudspeakers; • generating a set of output signals from each spatial trajectory (21, 22), each output signal (gn (t)) being intended for a respective input of the loudspeaker network, so that the loudspeaker outputs in combination enable a spatial perception of a virtual sound source (S).

11. A sound spatialization method according to claim 10, further comprising determining at least one parameter among a frequency (f), an amplitude (A), a phase (p) and / or a spatial movement (Ar, Ad) of the recorded sound signal.

12. A method of sound spatialization according to claim 10 or claim 11, further comprising synchronizing at least one spatial trajectory with a clock upon receipt of a sound parameter entered by the user.

13. Sound spatialization method according to one of claims 10 to 12, further comprising an interruption during which the current position on each sound trajectory (21, 22) is kept constant, so as to create a stop in the spatial movement of the virtual sound source.

14. A computer program product comprising instructions which, when the program is executed by a computer, cause the latter to implement a method according to one of claims 10 to 13.

15. A method of generating an immersive sound field, comprising a step of recording a set of sound data by one or more microphones, a sound spatialization method according to any one of claims 10 to 13, and generating a sound by a network of loudspeakers, each loudspeaker receiving a respective output signal, such that the outputs of the network of loudspeakers allow a spatial perception of an output sound signal according to the generated trajectory.

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