Object-based sound synthesis for virtual environments-using musical acoustics

2000 ◽  
Vol 17 (6) ◽  
pp. 37-51 ◽  
Author(s):  
F. Pedersini ◽  
A. Sarti ◽  
S. Tubaro
Keyword(s):  
Virtual Environments ◽  
Sound Synthesis ◽  
Musical Acoustics ◽  
Object Based

A Wavelet Synthesis Technique for Creating Realistic Virtual Environment Sounds

2002 ◽  
Vol 11 (5) ◽  
pp. 493-507 ◽  
Author(s):  
Nadine E. Miner ◽  
Thomas P. Caudell
Keyword(s):  
Virtual Environments ◽  
Virtual Environment ◽  
Development Process ◽  
Model Development ◽  
Sound Synthesis ◽  
Model Parameters ◽  
Experiment Validation ◽  
Environment Simulation ◽  
A New Technique ◽  
Model Development Process

This paper describes a new technique for synthesizing realistic sounds for virtual environments. The four-phase technique described uses wavelet analysis to create a sound model. Parameters are extracted from the model to provide dynamic sound synthesis control from a virtual environment simulation. Sounds can be synthesized in real time using the fast inverse wavelet transform. Perceptual experiment validation is an integral part of the model development process. This paper describes the four-phase process for creating the parameterized sound models. Several developed models and perceptual experiments for validating the sound synthesis veracity are described. The developed models and results demonstrate proof of the concept and illustrate the potential of this approach.

Physical Modelling for Sound Synthesis

2010 ◽  
pp. 340-360 ◽  
Author(s):  
Eoin Mullan
Keyword(s):  
Virtual Environments ◽  
Computer Games ◽  
Physical Modelling ◽  
Musical Instruments ◽  
Sound Synthesis ◽  
Production Costs ◽  
Third Party ◽  
Physical Parameters ◽  
Sound Effects ◽  
Modelling Techniques

While the first computer games synthesised all their sound effects, a desire for realism led to the widespread use of sample playback when technology matured enough to allow it. However, current research points to many advantages of procedural audio which is generated at run time from information on sound producing events using various synthesis techniques. A specific type of synthesis known as physical modelling has emerged, primarily from research into musical instruments, and this has provided audio synthesis with an intuitive link to a system’s virtual physical parameters. Various physical modelling techniques have been developed, each offering particular advantages, and some of these have been used to synthesise audio in interactive virtual environments. Refinements of these techniques have improved their efficiency by exploiting human audio perception. They have been implemented in large virtual environments and linked to third party physics engines, unveiling the potential for more realistic audio, reduced production costs, faster prototyping, and new gaming possibilities.

Using physically based models for collision‐sound synthesis in virtual environments

1994 ◽  
Vol 95 (5) ◽  
pp. 2967-2967 ◽  
Author(s):  
Jeng‐Feng Lee ◽  
I‐Yue Shen ◽  
John Crouch ◽  
Walt Aviles ◽  
David Zeltzer ◽  
...  
Keyword(s):  
Virtual Environments ◽  
Sound Synthesis ◽  
Physically Based ◽  
Physically Based Models

Realtime audiovisual rendering and contemporary audiovisual art

1998 ◽  
Vol 3 (3) ◽  
pp. 219-233 ◽  
Author(s):  
Tapio Lokki ◽  
Jarmo Hiipakka ◽  
Rami Hänninen ◽  
Tommi Ilmonen ◽  
Lauri Savioja ◽  
...  
Keyword(s):  
Virtual Environments ◽  
Virtual Worlds ◽  
Three Dimensional ◽  
Sound Synthesis ◽  
Virtual Space ◽  
Design Stage ◽  
Digital Models ◽  
Concert Hall ◽  
Sound Rendering ◽  
Rendering Techniques

Visual rendering is the process of creating synthetic images of digital models. The modelling of sound synthesis and propagation in a virtual space is called sound rendering. In this article we review different audiovisual rendering techniques suitable for realtime rendering of three-dimensional virtual worlds. Virtual environments are useful in various application areas, for example in architectural visualisation. With audiovisual rendering, lighting and acoustics of a modelled concert hall can be experienced early in the design stage of the building. In this article we demonstrate an interactive audiovisual rendering system where an animated virtual orchestra plays in a modelled concert hall. Virtual musicians are conducted by a real conductor who wears a wired data dress suit and a baton. The conductor and the audience hear the music rendered according to the acoustics of the virtual concert hall, creating a lifelike experience.

The sense of presence in virtual environments:

2003 ◽  
Vol 15 (2) ◽  
pp. 69-71 ◽  
Author(s):  
Thomas W. Schubert
Keyword(s):  
Virtual Environments ◽  
Coding Theory ◽  
Model Building ◽  
Self Report ◽  
Survey Study ◽  
Spatial Presence ◽  
Component Structure ◽  
Sense Of Presence ◽  
Being There ◽  
Measure Sense

Abstract. The sense of presence is the feeling of being there in a virtual environment. A three-component self report scale to measure sense of presence is described, the components being sense of spatial presence, involvement, and realness. This three-component structure was developed in a survey study with players of 3D games (N = 246) and replicated in a second survey study (N = 296); studies using the scale for measuring the effects of interaction on presence provide evidence for validity. The findings are explained by the Potential Action Coding Theory of presence, which assumes that presence develops from mental model building and suppression of the real environment.

Dreamlike and Playful Virtual Environments to Inspire Children’s Divergent Thinking

2020 ◽  
pp. 1-11
Author(s):  
Jérôme Guegan ◽  
Claire Brechet ◽  
Julien Nelson
Keyword(s):  
Virtual Environments ◽  
Divergent Thinking ◽  
Idea Generation ◽  
Combined Processes ◽  
Office Environment ◽  
School Aged Children

Abstract. Computers have long been seen as possible tools to foster creativity in children. In this respect, virtual environments present an interesting potential to support idea generation but also to steer it in relevant directions. A total of 96 school-aged children completed a standard divergent thinking task while being exposed to one of three virtual environments: a replica of the headmistress’s office, a replica of their schoolyard, and a dreamlike environment. Results showed that participants produced more original ideas in the dreamlike and playful environments than in the headmistress’s office environment. Additionally, the contents of the environment influenced the selective exploration of idea categories. We discuss these results in terms of two combined processes: explicit references to sources of inspiration in the environment, and the implicit priming of specific idea categories.

The Reliability of Object-Based Attention Following Peripheral and Central Cues

2000 ◽  
Author(s):  
Catherine M. Arrington ◽  
Dale Dagenbach ◽  
Maura K. McCartan ◽  
Thomas H. Carr
Keyword(s):  
Object Based ◽  
Central Cues
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