An architecture for spatial audio servers

Audio Mostly 2006, 2006

Auditory authoring is an essential component in the design of virtual environments and describes the process of assigning sounds and voices to objects within a virtual 3D scene. In a broader sense, auditory authoring also includes the definition of dependencies between objects and different object states, as well as time-and user-dependent interactions in dynamic environments. Our system unifies these attributes within so called auditory textures and allows an intuitive design of 3D auditory scenes for varying applications. Furthermore, it takes care of the different perception through auditory channels and provides interactive and easy to use sonification and interaction techniques. In this paper we present the necessary concepts as well as a system for the authoring of 3D virtual auditory environments as they are used in computer games, augmented audio reality and audio-based training simulations for the visually impaired. As applications we especially focus on augmented audio reality and the applications associated with it. In the paper we provide details about the definition of 3D auditory environments along techniques for their authoring and design, as well an overview of the system itself with a discussion of several examples.

2009

State-of-the-art synthesizers provide numerous controllers through which the user may create a great variety of sounds. The real-time control of so many parameters though, is often problematic for the user. The goal of our work has been to study the physical and remote control of such audial parameters. For this purpose, a system was developed that processes video input and recognizes movements of the user's body parts (movement of hands, head etc.) and translates them as change in some audial parameters of an electronic music instrument (tone, cutoff, etc.). Also, basic techniques of digital audio synthesis were studied and a prototype synthesizer was developed that is controlled physically and remotely. The study didn't limit itself in technical details, but contained study of the human psyche and cognition, as much for the audial, as also for the video part of the implementation of the system.

Presence: Teleoperators and Virtual Environments, 1998

Sounds are often the result of motions of virtual objects in a virtual environment.

Virtual Reality (VR) is on the edge of becoming the next major delivery plat- form for digital content. Technological progress has made accessible a variety of new tools, allowing development of the necessary hardware and software for VR interaction. The importance of audio in this process is increasing. Audio can intensify the three dimensional experience and immersion of game players and users in other applications. This research focuses on determining and implementing the necessary ele- ments for a system able to deliver Virtual Auditory Display (VAD). The system structure is adapted to fit a new emerging gaming platform: smart- phones. Developing for mobile platforms requires consideration of many con- straints such as memory, processor load and development components. The result is a real-time dynamic VAD, manageable by mobile devices, and able to trigger spatial auditory perception across the azimuthal plane. In this study it is also shown how the VAD developed following custom imple- mentation of selected Head Related Transfer Function (HRTF), is able to generate azimuthal localization of sound events in VR scenarios.

Proc. 2000 International Computer Music Conference, 2000

We present a case study of sound production and performance that optimize the interactivity of model-based VR systems. We analyze problems for audio presentation in VR architectures and we demonstrate solutions obtained by a model-based data-driven component architecture that supports interactive scheduling. Criteria and a protocol for coupling jMax and VSS software are described. We conclude with recommendations for diagnostic tools, sound authoring middleware, and further research on sound feedback ...

2002

Abstract High-quality virtual audio scene rendering is a must for emerging virtual/augmented reality applications and for perceptual user interfaces. We describe algorithms for creation of virtual auditory spaces using measured and non-individualized HRTFs and head tracking. Details of algorithms for HRTF interpolation, room impulse response creation, and audio scene presentation are presented. Tests show that individuals externalize well, and find our interface natural.

Proceedings of International …, 2007

We present a method for user-specific audio rendering of a virtual environment that is shared by multiple participants. The technique differs from methods such as amplitude differencing, HRTF filtering, and wave field synthesis. Instead we model virtual microphones within the 3-D scene, each of which captures audio to be rendered to a loudspeaker. Spatialization of sound sources is accomplished via acoustic physical modelling, yet our approach also allows for localized signal processing within the scene. In order to control the flow of sound within the scene, the user has the ability to steer audio in specific directions. This paradigm leads to many novel applications where groups of individuals can share one continuous interactive sonic space.

Pure Data Convention, …, 2007

We present a Pure Data library for managing 3-D sound and accomplishing signal processing using spatial relations. The framework is intended to support applications in the areas of immersive audio, virtual/augmented reality systems, audiovisual performance, multimodal sound installations, acoustic simulation, 3-D audio mixing, and many more.

Journal of The Audio Engineering Society, 1999

The theory and techniques for virtual acoustic modeling and rendering are discussed. The creation of natural sounding audiovisual environments can be divided into three main tasks: sound source, room acoustics, and listener modeling. These topics axe discussed in the context of both non-real-time and real-time virtual acoustic environments. Implementation strategies are considered, and a modular and expandable simulation software is described. r

The purpose of this paper is to determine the accuracy of modern video game audio engines in reproducing realistic sonic environments through the use of different playback systems. For a number of reasons which will be thoroughly explained in the main body of the dissertation, a specific focus will be set on stereophonic systems, especially on the differences between sounds presented through headphones as opposed to sounds presented through loudspeakers.