thesis/thesis.tex: Using round braces for the bibliography. Updating to new bibliography naming scheme. Adding Konni's bachelor's thesis. Minor fixes.

1 files changed, 51 insertions, 45 deletions

diff --git a/thesis/thesis.tex b/thesis/thesis.tex
index 789fec9..8b30127 100644
--- a/thesis/thesis.tex
+++ b/thesis/thesis.tex
@@ -36,7 +36,7 @@ parskip=never]{paper}
 
 \usepackage{hyperref}
 \hypersetup{hidelinks, colorlinks = false}
-\usepackage[authoryear]{natbib}
+\usepackage[authoryear,round]{natbib}
 
 % caption
 \usepackage[font=scriptsize]{caption}
@@ -330,7 +330,7 @@ parskip=never]{paper}
 
     Early dedicated hardware implementations, such as the \textit{Halaphon},
     designed by Hans Peter Haller and Peter Lawo
-    \citep[p.78f]{HansPeterHaller1995}, started out as basic spatial dispersion
+    \citep[p.78f]{book:haller1995}, started out as basic spatial dispersion
     systems for quadrophonic loudspeaker setups, based on amplitude pannings
     using envelopes. Due to huge interest from artists in this new technique,
     these systems were soon expanded to cope with eight and more channels.\\
@@ -343,7 +343,7 @@ parskip=never]{paper}
     the piece. This enabled a sung \textit{fivefold pianissimo} and a
     \textit{triple pianissimo} (respectively) to be perceived as coming from a
     larger distance than the room's dimension \citep[p.
-    91f]{HansPeterHaller1995}.\\
+    91f]{book:haller1995}.\\
     This early example of a spatial audio renderer already illustrates the
     close vicinity of applied scientific research in experimental electronic
     music studios and that of artistic work, facilitating live electronics.\\
@@ -388,13 +388,13 @@ parskip=never]{paper}
     renderers, which are all \gls{jack} clients:
 
     \begin{itemize}
-      \item sWONDER \citep{baalman2007}, developed at the \gls{tu-berlin},
-        Germany
+      \item sWONDER \citep{phdthesis:baalman2007}, developed at the
+        \gls{tu-berlin}, Germany
       \item WFSCollider \citep{website:wfscollider}, developed by the Game Of
         Life Foundation \citep{website:gameoflife}, The Hague, Netherlands
       \item HoaLibrary for \gls{pd} \citep{github:hoalibraryforpd} developed at
         the \gls{cicm}, Paris, France
-      \item 3Dj for \gls{supercollider} \citep{thesis:perezlopez3dj2014},
+      \item 3Dj for \gls{supercollider} \citep{mastersthesis:perezlopez2014},
         developed at the Universitat Pompeu Fabra, Barcelona
       \item \gls{ssr} \citep{website:ssr2016}, developed at the Quality \&
         Usability Lab, Telekom Innovation Laboratories, \gls{tu-berlin} and
@@ -447,8 +447,9 @@ parskip=never]{paper}
         spherical.\\
         Depending on a loudspeaker's position in the setup, relative to the
         spheres's center (the listening area or \textit{sweet spot} \citep[Fig.
-        1.4]{HagenWierstorf2014}), a linear combination of all loudspeakers is
-        used to achieve a localized representation of a virtual sound source.\\
+        1.4]{phdthesis:wierstorf2014}), a linear combination of all
+        loudspeakers is used to achieve a localized representation of a virtual
+        sound source.\\
         The relatively small listening area can be extended by using additional
         sets of loudspeakers, which in turn lead to more spatial aliasing.\\
         Due to the perceptebility of localization cues, mentioned
@@ -468,11 +469,10 @@ parskip=never]{paper}
         It enables for “virtual source positioning in a three-dimensional sound
         field formed by loudspeakers in an arbitrary three-dimensional
         placement“, while being ”computationally efficient and accurate“
-        \citep[p. 464]{VillePulkki1997-05-31}.\\
-        However, according to \citet{MatthiasGeier1888} ”\gls{vbap} has a very
-        small sweet spot, out of which localization of sources is distorted
-        towards the nearest active loudspeaker“ and ”works best for circular
-        setups“.
+        \citep[p. 464]{inproceedings:pulkki1997}.\\ However, according to
+        \citet{inproceedings:geierandspors2012} ”\gls{vbap} has a very small
+        sweet spot, out of which localization of sources is distorted towards
+        the nearest active loudspeaker“ and ”works best for circular setups“.
 
       \subsubsection{Wave Field Synthesis}
         \label{subsubsec:wavefieldsynthesis}
@@ -482,15 +482,15 @@ parskip=never]{paper}
         Setups mainly focus on horizontal, preferably spatially discrete,
         speaker arrays of rectangular or circular shape as the human hearing is
         most capable to localize acoustic sources in this this plane.\\
-        According to \citet{HagenWierstorf1899}, localization is accurately and
-        evenly distributed in the listening area with loudspeaker spacings of
-        up to 40cm.\\
+        According to \citet{inproceedings:wierstorfetal2012}, localization is
+        accurately and evenly distributed in the listening area with
+        loudspeaker spacings of up to 40cm.\\
         Although \gls{wfs} does not suffer from a pronounced sweet spot and
         spatial aliasing is distributed over a relatively large listening area,
         compared to e.g.\ \gls{nfc-hoa}, the spatial sampling artifacts may
         still be perceived as coloration of the sound field, which can be
         improved by prefiltering especially high-frequency content
-        \citep{HelmutWittek1900}.\\
+        \citep{phdthesis:wittek2007}.\\
         Due to the relatively high amount of loudspeakers (and thereby
         computing power to calculate as many audio channels) needed for a
         medium to large-scale setup, \gls{wfs} is not yet very widely
@@ -498,11 +498,11 @@ parskip=never]{paper}
 
     \subsection{sWONDER}
       \label{subsec:swonder}
-      sWONDER \citep{baalman2007} consists of a set of C++ applications that
-      provide \gls{bs} and \gls{wfs} rendering. In 2007 it was specifically
-      redesigned \citep{baalmanetal2007} to cope with large scale \gls{wfs}
-      setups in which several (computer) nodes, providing several speakers
-      each, drive a system together.\\
+      sWONDER \citep{phdthesis:baalman2007} consists of a set of C++
+      applications that provide \gls{bs} and \gls{wfs} rendering. In 2007 it
+      was specifically redesigned \citep{inproceedings:baalmanetal2007} to cope
+      with large scale \gls{wfs} setups in which several (computer) nodes,
+      providing several speakers each, drive a system together.\\
       In these setups each node receives all available audio streams (which
       represent one virtual audio source respectively) redundantly and a master
       application signals which node is responsible for rendering what source
@@ -517,10 +517,10 @@ parskip=never]{paper}
       \citep{website:tu-electronic_studio} and lecture hall H0103
       \citep{website:tu-wfs} at \gls{tu-berlin} and a medium
       scale system at the Wave Field Synthesis Lab at HAW in Hamburg
-      \citep{Fohl2013}.\\
+      \citep{inbook:fohl2013}.\\
       The included convolution engine fWonder is applied in “Assessing the
       Authenticity of Individual Dynamic Binaural Synthesis” \citep[pp.
-      223-246]{lindau2014}.\\
+      223-246]{phdthesis:lindau2014}.\\
       Unfortunately, the spatial audio renderer has not been actively
       maintained for several years. Hence it is limited to its two rendering
       algorithms and has many bugs, that are not likely to get fixed in the
@@ -530,10 +530,11 @@ parskip=never]{paper}
       \label{subsec:hoalibrary_puredata_extension}
       The HoaLibrary is “a collection of C++ and \gls{faust} classes and
       objects for Max, PureData and VST destined to high order ambisonics sound
-      reproduction” \citep{website:hoalibrary}. By using its \gls{pd}
-      extension, it enables for \gls{hoa} reproduction, while harnessing the
-      rich feature set of the audio programming language still enables for
-      implementing other forms of spatial rendering alongside the HoaLibrary.\\
+      reproduction” \citep{website:hoalibrary}. By the extension for \gls{pd}
+      \citep{inproceedings:puckette1997}, it enables for \gls{hoa}
+      reproduction, while harnessing the rich feature set of the audio
+      programming language still enables for implementing other forms of
+      spatial rendering alongside the HoaLibrary.\\
       \gls{pd} is \gls{osc} capable with the help of extensions, such as
       \textit{mrpeach}\footnote{ \href{https://puredata.info/downloads/mrpeach}
       {https://puredata.info/downloads/mrpeach}} or \textit{IEMnet}\footnote{
@@ -542,14 +543,14 @@ parskip=never]{paper}
 
     \subsection{3Dj (SuperCollider Quark)}
       \label{subsec:3dj_supercollider_quark}
-      3Dj is a \gls{supercollider} \gls{quark} conceived in the course of a Master
-      Thesis at Universitat Pompeu Fabra, Barcelona
-      \citep{thesis:perezlopez3dj2014} for interactive performance live
+      3Dj is a \gls{supercollider} \gls{quark} conceived in the course of a
+      Master's Thesis at Universitat Pompeu Fabra, Barcelona
+      \citep{mastersthesis:perezlopez2014} for interactive performance live
       spatialization purposes. It implements \gls{hoa} and \gls{vbap} rendering
-      \citep[p 45]{thesis:perezlopez3dj2014} and uses a specific scene format
-      \citep[pp. 45--46]{thesis:perezlopez3dj2014} to allow sound sources to
-      have static, linear, random, brownian, simple harmonic and orbital
-      motion.\\
+      \citep[p 45]{mastersthesis:perezlopez2014} and uses a specific scene
+      format \citep[pp. 45--46]{mastersthesis:perezlopez2014} to allow sound
+      sources to have static, linear, random, brownian, simple harmonic and
+      orbital motion.\\
       Due to being a language extension to \gls{sclang}, 3Dj can be used in
       conjunction with other spatial rendering algorithms provided by
       \gls{supercollider} or any of its \glspl{quark}.\\
@@ -584,22 +585,27 @@ parskip=never]{paper}
       \label{subsec:soundscaperenderer}
       The \gls{ssr}, written in C++, is a multi-purpose spatial audio renderer,
       that runs on Linux and MacOSX\@. Based on its underlying \gls{apf}
-      \citep{MatthiasGeierTorbenHohn1890}, it is able to use \gls{bs},
+      \citep{inproceedings:geieretal2012}, it is able to use \gls{bs},
       \gls{brs}, \gls{aap}, \gls{wfs}, \gls{nfc-hoa} and \gls{vbap}. However,
       all rendering algorithms with potentially orthogonal sound fields, are
-      currently only available in 2D \citep{MatthiasGeier1888}.\\
+      currently only available in 2D \citep{inproceedings:geieretal2008}.\\
       It can be used with a \gls{qt4} based \gls{gui} or headless (without
       one), depicting the virtual sources, their volumes and positions. If a
       loudspeaker based renderer is chosen, the \gls{gui} also illustrates
       which speakers are currently used for rendering a selected source.\\
-      The \gls{bs} and \gls{brs} renderers are frequently used in scientific
-      research, such as \citep{DavidAckermann1895} or
-      \citep{DmitryGrigoriev1896}. The \gls{wfs} renderer has been improved by
-      the work of several research papers, dealing with enhancements of spatial
-      aliasing, active listening room and loudspeaker compensation and active
-      noise control \citep{SaschaSporsRudolfRabensteinJensAhrens1822} and
-      analyzing and pre-equalizing in 2.5-dimensional \gls{wfs}
-      \citep{SaschaSporsJensAhrens1821}.\\
+      The \gls{ssr}, since its conception, had a history of conducting
+      psychoacoustic experiments with it
+      \citep{inproceedings:geierandspors2010}.\\
+      Current scientific research with the \gls{bs} and \gls{brs} renderers can
+      be found in \citet{mastersthesis:ackermannandilse2015} or
+      \citet{mastersthesis:grigoriev2017}. The \gls{wfs} renderer has been
+      improved by the work of several research papers, dealing with
+      enhancements of spatial aliasing, active listening room and loudspeaker
+      compensation and active noise control \citep{inproceedings:sporsetal2008}
+      and analyzing and pre-equalizing in 2.5-dimensional \gls{wfs}
+      \citep{inproceedings:sporsandahrens2008}. The loudspeaker based renderer
+      was also used for psychoacoustic experiments, such as the one found in
+      \citet{bachelorsthesis:koslowski2013}\\
       The \gls{ssr} uses \gls{xml} based configuration files for reproduction
       (i.e.\ how something is played back) and scene (i.e.\ what is played
       back). The \gls{asdf} however is not (yet) able to represent dynamic