From 80352fb4bb71a52443883a5d025f531e3132f5a2 Mon Sep 17 00:00:00 2001
From: David Runge <dave@sleepmap.de>
Date: Mon, 3 Jul 2017 22:33:49 +0200
Subject: thesis/thesis.tex: First take on introduction. Expanding info on
 hrir/brir usage. Fixing line break.

---
 thesis/thesis.tex | 48 +++++++++++++++++++++++++++++++++++++++++++-----
 1 file changed, 43 insertions(+), 5 deletions(-)

diff --git a/thesis/thesis.tex b/thesis/thesis.tex
index 62bbc07..b39d837 100644
--- a/thesis/thesis.tex
+++ b/thesis/thesis.tex
@@ -229,14 +229,50 @@ parskip=never]{paper}
   \pagestyle{headings}
   \setcounter{page}{1}
   \pagenumbering{arabic}
-  \renewcommand{\theFancyVerbLine}{\textcolor{gray}{\scriptsize\arabic{FancyVerbLine}}}
+  \renewcommand{\theFancyVerbLine}
+    {\textcolor{gray}{\scriptsize\arabic{FancyVerbLine}}}
   \RecustomVerbatimEnvironment{Verbatim}{Verbatim}{xleftmargin=5mm}
 
   \section{Introduction}
     \label{sec:introduction}
-
-
-  \cleardoublepage
+    From the early days of stereo audio reproduction onwards, different kinds
+    of spatial audio reproduction techniques have been developed and
+    established, bridging the gap between plain stereophony and massive
+    three-dimensional, multi-channel setups.
+    Their applications range from research to artistic and conventionally
+    commercial fields, such as (home) cinema.\\
+
+    With the rise of dynamic two and three-dimensional rendering algorithms
+    (see~\ref{subsec:spatialaudiorenderingalgorithms}), the need for
+    specialized software, implementing them, grew. Opposed to encoding of
+    spatial information of sources in only two channels - static in the case of
+    commercially produced audio for radio and film - encoding for massive multi
+    loudspeaker systems would not be feasible, when done statically, or not
+    applicable in the case of dynamic setups, reacting to user input in
+    realtime.\\
+
+    Generally, software can be divided into two groups: That, which is
+    developed freely and open-source (see~\ref{subsec:whyfreesoftwarematters})
+    and that, which is developed non-free, also known as closed-source. Both
+    types are usually covered by a license, explicitely describing the rights
+    of its end-user. In scientific research, free software is usually
+    preferred, due to its ease of reproducability (the sources can be
+    retrieved, modified and used, free of charge).\\
+
+    Spatial audio rendering software exists for different \glspl{OS}, in
+    several stages of completeness and feature richness, while covered by free
+    and non-free licenses. The following work will focus on free software, used
+    in scientific research and artistic contexts. Several spatial audio
+    renderers, currently in use, were evaluated and compared, of which one was
+    chosen for extension.\\
+
+    The \gls{ssr} is a multi-purpose spatial audio renderer, developed at
+    Technical University of Berlin. To improve its usability and networking
+    capabilities, a new networking extension was developed, facilitating a
+    \gls{osc} based messaging system, that incorporates features for
+    distributed processing in massive multi-loudspeaker setups.\\
+
+    \cleardoublepage
   \section{Free and open-source spatial audio renderers}
     \label{sec:freespatialaudiorenderers}
     To date there exist five (known of) free and open-source spatial audio
@@ -288,7 +324,9 @@ parskip=never]{paper}
         This way, recordings from real rooms can be reproduced authentically.\\
         \glspl{hrir} and \glspl{brir} are by default applied seperately for
         each ear, therefore, if a resolution of 1\textdegree~is desired, it
-        can only be achieved by a set of 720 impulse responses.
+        can be achieved by a set of 720 impulse responses, that are applied to
+        the source with the help of a head tracker, measuring the azimuth of
+        the listener towards it.
 
       \subsubsection{(Higher Order) Ambisonics Amplitude Panning and
       Near-field-compensated Higher Order Ambisonics}
-- 
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