Добірка наукової літератури з теми "3D sound spatialization"

This paper discusses a series of sound installations that combine plant electrophysiology with 3D sonic art. A brief introduction to plant electrophysiology is given. The sonification of electrophysiological signals in the mycorrhizal network is discussed, explaining how art and science are combined in this project in a way that differs from the simple sonification of data. Novel 3D audio spatialization techniques, the 3D audio mapping of natural environments and immersion are also discussed, along with technical details of how to read the electrical signals in plants known as action potentials. Other topics addressed include acoustic signaling in the forest, spectral composition and interaction with forest flora and fauna.

This paper investigates the applicability of knowledge domain mapping for analyzing political science data. Utilizing metaphorical-space models grounded on political science theory, and applying sound cartographic visualization techniques, we demonstrate the construction and analysis of knowledge domain maps for exploring voting behaviour in Switzerland. We digitally transformed the results of Swiss popular referenda of the last twenty years to generate a 3-dimensional semantic space representing the current political landscape of Switzerland. The whole country is depicted in this semantic political space at various spatial scales. Locations in this spatialization represent aggregated voting outcomes from cities, regions, and provinces. Special attention was given to the interpretation of the resulting spatial configuration. This includes the assignment of meaning to the axes of the 3D space, depicted in two dimensions. Armed with political science theory locations in the voting behaviour space can be analyzed and the resulting political pattern can be interpreted meaningfully. The spatialized views were disseminated to the public after recent Swiss elections. The initial feedback from domain specialists and decision-makers alike has been very encouraging. Measured by high number of substantive reactions and wide-spread feedback on these spatializations of voting behaviour one could deduce that these abstract views were readily accepted and understood by public administrators, political party leaders, and the politically interested public. Based on these experiences we conclude the paper with a first attempt at identifying design recommendation for spatializing multidimensional political datasets.

AbstractThis study analyses one of the most popular game engines and an audio middleware to reproduce sound according to sound propagation physics. The analysis focuses on the transmission path between the sound source and the receiver. Even if there are several ready-to-use real-time auralization platforms and software, game engines' use with this aim is a recent study area for acousticians. However, audio design needs with game engines and the limits of their basic releases require additional tools (plugins and middleware) to improve both the quality and realism of sound in virtual environments. The paper discusses the use of Unreal Engine 4 and Wwise's 3D audio production methods in a set of different test environments. It assesses their performance in regard to a commercial geometrical acoustics software. The results show that the investigated version of the game engine and its sound assets are insufficient to simulate real-world cases and that significant improvements can be achieved with use of the middleware.

Spatial hearing is critical for communication in everyday sound-rich environments. It is important to gain an understanding of how well users of bilateral hearing devices function in these conditions. The purpose of this work was to evaluate a Virtual Acoustics (VA) version of the Spatial Speech in Noise (SSiN) test, the SSiN-VA. This implementation uses relatively inexpensive equipment and can be performed outside the clinic, allowing for regular monitoring of spatial-hearing performance. The SSiN-VA simultaneously assesses speech discrimination and relative localization with changing source locations in the presence of noise. The use of simultaneous tasks increases the cognitive load to better represent the difficulties faced by listeners in noisy real-world environments. Current clinical assessments may require costly equipment which has a large footprint. Consequently, spatial-hearing assessments may not be conducted at all. Additionally, as patients take greater control of their healthcare outcomes and a greater number of clinical appointments are conducted remotely, outcome measures that allow patients to carry out assessments at home are becoming more relevant. The SSiN-VA was implemented using the 3D Tune-In Toolkit, simulating seven loudspeaker locations spaced at 30° intervals with azimuths between −90° and +90°, and rendered for headphone playback using the binaural spatialization technique. Twelve normal-hearing participants were assessed to evaluate if SSiN-VA produced patterns of responses for relative localization and speech discrimination as a function of azimuth similar to those previously obtained using loudspeaker arrays. Additionally, the effect of the signal-to-noise ratio (SNR), the direction of the shift from target to reference, and the target phonetic contrast on performance were investigated. SSiN-VA led to similar patterns of performance as a function of spatial location compared to loudspeaker setups for both relative localization and speech discrimination. Performance for relative localization was significantly better at the highest SNR than at the lowest SNR tested, and a target shift to the right was associated with an increased likelihood of a correct response. For word discrimination, there was an interaction between SNR and word group. Overall, these outcomes support the use of virtual audio for speech discrimination and relative localization testing in noise.

La localisation sonore est le procédé utilisé par les êtres humains pour repérer un son dans l’espace. Afin de localiser ces sons, le cerveau traite l’information reçue, et crée des indices acoustiques. L’approche de la thèse pour la localisation sonore perceptive, reposant sur le travail d’Harald Viste pour la localisation de l’azimut, consiste à utiliser ces indices acoustiques dans un algorithme. L’algorithme initial est légèrement simplifié dans cette thèse, et testé dans des conditions réelles. De plus, une approche perceptive innovante pour la localisation de l’élévation est également présentée. La spatialisation sonore est le procédé inverse, permettant de produire un son que l’on percevra à la position souhaitée dans l’espace. Du fait de l’impossibilité d’avoir un système de diffusion en tout point de l’espace, il est nécessaire de recourir à des algorithmes de spatialisation, permettant par exemple des diffusions via des hautparleurs. L’approche perceptive de la thèse, basée sur le travail de Joan Mouba, est d’utiliser les indices acoustiques de la localisation sonore, dans ce travail en les créant dans les sources sonores spatialisées. Ce travail de thèse approfondit les recherches initiales, crée des outils pour aboutir à une proposition de méthode de spatialisation sonore perceptive 3D nommée STAR (Synthetic Transaural Audio Rendering), tout en validant la méthode par des tests rigoureusement menés
Sound localization is the process used by humans to locate sound in space. In order to locate these sounds, the brain processes the information received, and creates acoustic cues. The thesis approach to perceptual sound localization, based on Harald Viste’s work for azimuth localization, is to use these acoustic cues in an algorithm to locate a sound source. The initial algorithm is slightly simplified in this thesis, and tested in real conditions. In addition a perceptual approach for the location of the elevation is also presented. Sound spatialization is the reverse process, making it possible to produce a sound that will be perceived at the position of the desired space. Due to the impossibility of having a broadcast system at any point in space, it is necessary to use spatialization algorithms, for example allowing broadcasts through loudspeakers. The perceptual approach of the thesis, based on the work of Joan Mouba, is to use the acoustic cues of sound localization, this time by creating them in spatialized sound sources. This thesis work deepens the initial research, notably proposes a 3D perceptual sound spatialization method called STAR (Synthetic Transaural Audio Rendering), while validating the method through tests

Pour ma thèse de doctorat, je propose d’explorer la piste de l’apprentissage supervisé, pour la tâche de localisation de sources acoustiques. Pour ce faire, j’ai développé une nouvelle architecture de réseau de neurones profonds. Mais, pour optimiser les millions de variables d’apprentissages de ce réseau, une base de données d’exemples conséquente est nécessaire. Ainsi, deux approches complémentaires sont proposées pour constituer ces exemples. La première est de réaliser des simulations numériques d’enregistrements microphoniques. La seconde, est de placer une antenne de microphones au centre d’une sphère de haut-parleurs qui permet de spatialiser les sons en 3D, et d’enregistrer directement sur l’antenne de microphones les signaux émis par ce simulateur expérimental d’ondes sonores 3D. Le réseau de neurones a ainsi pu être testé dans différentes conditions, et ses performances ont pu être comparées à celles des algorithmes conventionnels de localisation de sources acoustiques. Il en ressort que cette approche permet une localisation généralement plus précise, mais aussi beaucoup plus rapide que les algorithmes conventionnels de la littérature
For my PhD thesis, I propose to explore the path of supervised learning, for the task of locating acoustic sources. To do so, I have developed a new deep neural network architecture. But, to optimize the millions of learning variables of this network, a large database of examples is needed. Thus, two complementary approaches are proposed to constitute these examples. The first is to carry out numerical simulations of microphonic recordings. The second one is to place a microphone antenna in the center of a sphere of loudspeakers which allows to spatialize the sounds in 3D, and to record directly on the microphone antenna the signals emitted by this experimental 3D sound wave simulator. The neural network could thus be tested under different conditions, and its performances could be compared to those of conventional algorithms for locating acoustic sources. The results show that this approach allows a generally more precise localization, but also much faster than conventional algorithms in the literature

This thesis describes a set of software applications for real-time gesturally con- trolled interactions with music and sound. The applications for each system are varied but related, addressing unsolved problems in the field of audio and music technology. The three systems presented in this work capture 3D human motion with spatial sensors and map position data from the sensors onto sonic parameters. Two different spatial sensors are used interchangeably to perform motion capture: the radiodrum and the Xbox Kinect. The first two systems are aimed at creating immersive virtually-augmented environments. The first application uses human ges- ture to move sounds spatially in a 3D surround sound by physically modelling the movement of sound in a space. The second application is a gesturally controlled self- organized music browser in which songs are clustered based on auditory similarity. The third application is specifically aimed at extending musical performance through the development of a digitally augmented vibraphone. Each of these applications is presented with related work, theoretical and technical details for implementation, and discussions of future work.
Graduate

L’expérience sonore immersive est souvent associée à la spatialisation du son. Mais, le phénomène d’immersion est plutôt complexe et le réduire au seul emploi d’un dispositif technique ne permet pas d’en apprécier les causes multiples sur le plan de la réception. Ce mémoire présente un projet de recherche-création intitulé Cathédrales, dont l’objectif est de mieux comprendre la réception d’une œuvre de musique acousmatique spa- tialisée en 3D et intentionnellement immersive. Ce travail porte notamment sur les stratégies de composition adoptées et leurs effets, au regard des intentions de départs et de l’analyse des commentaires émis par un ensemble d’auditeurs-participants. Les trois premiers chapitres présentent les aspects conceptuels soutenant la démarche de création des œuvres Ville Aux Cent Clochers et Réverbérence. Le premier chapitre vise à préciser d’entrée de jeu ce que signifie l’immersion sonore, de sa compréhension plus générale jusqu’à ses significations plus particulières; le deuxième chapitre présente ensuite l’immersion sous l’angle d’une narratologie naturelle de la musique; tandis que le troisième chapitre intègre cette approche narrative au langage du cinéma pour l’oreille et adapte le tout au contexte multidirectionnel du médium de diffusion sonore. Les deux parties qui composent l’œuvre Cathédrales : I. Ville Aux Cent Clochers et II. Réverbérence, sont présentées au quatrième chapitre. Après avoir introduit le propos de l’œuvre dans son ensemble, les intentions et les stratégies spécifiques à chacune de ces pièces y sont également développées. Enfin, le cinquième chapitre présente les résultats de deux études de réception, impliquant un certain nombre d’auditeurs, sur l’écoute de musiques spatialisées pour dôme de haut-parleurs. L’analyse esthésique découlant de ces enquêtes permet de proposer différentes catégories conceptuelles de l’expérience sonore immersive. Ces catégories peuvent éventuellement servir à schématiser les effets de certaines stratégies de composition, combinées à l’emploi d’un dispositif technologique particulier, sur la réception d’une musique spatialisée en 3D.
The immersive sound experience is often associated with sound spatialization. But the immersive phenomenon is rather complex and reducing it to the sole usage of a technical device does a disservice to our appreciation of its multiple causes in terms of a work’s reception. This memoir presents a research-creation project, entitled Cathédrales, that aims to better understand the reception of an intentionally immersive 3Dspatialized acousmatic music. This work focuses on the adopted compositional strategies and their effects, with regard to initial intentions and the analysis of comments made by listener participants. The first three chapters present the concepts underlying the creative process for the works Ville Aux Cent Clochers ("City of a hundred bell towers") and Réverbérence ("Reverberence"). The first chapter clarifies the meaning of sound immersion from the outset, from its more general understanding to its more specific meanings; the second chapter then presents immersion under the scope of a natural narratology of music; while the third chapter integrates such narrative approach within the language of a "cinema for the ear", while adapting it to the multidirectional context of the sound diffusion medium. In the fourth chapter are presented the two parts composing Cathédrales ("Cathedrals") : I. Ville Aux Cent Clochers and II. Réverbérence. After introducing the concept of the work as a whole, the intentions and strategies that are more specific to each part of the work are then exposed. Finally, the fifth chapter presents the results of two case studies on the reception behaviors of multiple participants listening to spatialized music over a loudspeakers dome. Aesthesic analysis arising from these surveys allows to provide different conceptual categories of the immersive sound experience. Such categorization may eventually serve to schematize the effects of certain compositional strategies, in combination with the usage of a particular technological device, on the reception of 3D spatialized music.

In this paper we describe a proposal based on the use of 3D sound metaphors for providing precise spatial cueing in virtual environment. A 3D sound metaphor is a combination of the audio spatialization and audio cueing techniques. The 3D sound metaphors are supposed to improve the user performance and perception. The interest of this kind of stimulation mechanism is that it could allow providing efficient 3D interaction for interactive tasks such as selection, manipulation and navigation among others. We describe the main related concepts, the most relevant related work, the current theoretical and technical problems, the description of our approach, our scientific objectives, our methodology and our research perspectives.

In this paper we briefly describe an approach for understanding the psychoacoustic and perceptual effects of what we have identified as the high-level spatial properties of 3D audio. The necessity of this study is firstly presented within the context of interactive applications such as Virtual Reality and Human Computer Interfaces. As a result of the bibliographic research in the field we identified the main potential functions of 3D audio spatial stimulation in interactive applications beyond traditional sound spatialization. In the same sense, a classification of the high-level aspects involved in spatial audio stimulation is proposed and explained. Immediately, the case of study, the experimental methodology and the framework are described. Finally, we present the expected results as well as their usefulness within the context of a larger project.