A Synthesis Model With Intuitive Control Capabilities for Rolling Sounds

Conan, Simon; Derrien, Olivier; Aramaki, Mitsuko; Ystad, Sølvi; Kronland‐Martinet, Richard

doi:10.1109/taslp.2014.2327297

Cited by 11 publications

(6 citation statements)

References 31 publications

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“…They also open up the door to new types of sound design techniques based on physical modeling of environmental sound sources that can be used for new types of tasks (e.g. [57,102,103]). Particularly, the sounds as materials metaphor may be useful here in guiding and understanding this design process, allowing greater refinement and development of sounds that can be implemented, by appreciating how design interacts relationally with the skills of a user [2,47].…”

Section: Applicationsmentioning

confidence: 99%

“…Research has found that listeners can perceive the speed and size of a rolling ball (to some degree of accuracy, at least) [54]. Along the lines of an ecological acoustics account, this can be explained through (and modeled by emulating) the sound-producing physics of the ball as it travels across a surface [55][56][57], providing structured information of the event. Recent research extends these findings, showing that the sound of a rolling ball can also offer sufficient affordances for action.…”

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confidence: 99%

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Bringing Sounds into Use: Thinking of Sounds as Materials and a Sketch of Auditory Affordances

Steenson¹,

Rodger²

2015

TOPSYJ

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Abstract:We live in a richly structured auditory environment. From the sounds of cars charging towards us on the street to the sounds of music filling a dancehall, sounds like these are generally seen as being instances of things we hear but can also be understood as opportunities for action. In some circumstances, the sound of a car approaching towards us can provide critical information for the avoidance of harm. In the context of a concert venue, sociocultural practices like music can equally afford coordinated activities of movement, such as dancing or music making. Despite how evident the behavioral effects of sound are in our everyday experience, they have been sparsely accounted for within the field of psychology. Instead, most theories of auditory perception have been more concerned with understanding how sounds are passively processed and represented and how they convey information of the world, neglecting than how this information can be used for anything. Here, we argue against these previous rationalizations, suggesting instead that information is instantiated through use and, therefore, is an emergent effect of a perceiver's interaction with their environment. Drawing on theory from psychology, philosophy and anthropology, we contend that by thinking of sounds as materials, theorists and researchers alike can get to grips with the vast array of auditory affordances that we purposefully bring into use when interacting with the environment.Keywords: Affordances, auditory perception, dance, ecological psychology, music, sensorimotor coordination. TAKING SOUNDS OUT OF THE HEADUnderstanding the perception of sound and how we interact with auditory information is not an easy task. It is difficult to conceive an objective way of explaining auditory experiences when our perceptions of sound and our intentions surrounding these perceptions, by definition, are subjective mental phenomena. This distinction between the objective and the subjective, the mental and physical, is a problem that has dogged psychology generally over its short lifespan. Different approaches have been developed to explain these dichotomies, which have left far reaching implications on how researchers have approached more specialist areas, such as auditory perception. The dominant approaches to psychology, such as cognitive-and information processing-based approaches, explain auditory perception as the transformation of objective input (energy stimulating receptors) into subjective output (declarative descriptions of, or, responses to received input). This process of input-cognitionoutput, we argue, falls short of adequately accounting for the phenomenology of our experiences with the auditory environment.In this paper, we instead propose an alternative view to auditory perception that can account for the various creative ways we can meaningfully use and interact with sounds. Drawing on ideas from ecological psychology, this approach takes a different form of discourse to conventional cognitive *Address correspondence to this author at ...

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Section: Applicationsmentioning

confidence: 99%

mentioning

confidence: 99%

Bringing Sounds into Use: Thinking of Sounds as Materials and a Sketch of Auditory Affordances

Steenson¹,

Rodger²

2015

TOPSYJ

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“…This allowed the authors to categorise specific positive and negative traits in their devised system. Other works in the field have utilised qualitative processes to identify salient features in audio distractors [46] or to validate the design of sound synthesis techniques [47].…”

Section: Results: Qualitative Measuresmentioning

confidence: 99%

Subjective Evaluation of Music Compressed with the ACER Codec Compared to AAC, MP3, and Uncompressed PCM

Cunningham

McGregor

2019

International Journal of Digital Multimedia Broadcasting

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Audio data compression has revolutionised the way in which the music industry and musicians sell and distribute their products. Our previous research presented a novel codec named ACER (Audio Compression Exploiting Repetition), which achieves data reduction by exploiting irrelevancy and redundancy in musical structure whilst generally maintaining acceptable levels of noise and distortion in objective evaluations. However, previous work did not evaluate ACER using subjective listening tests, leaving a gap to demonstrate its applicability under human audio perception tests. In this paper, we present a double-blind listening test that was conducted with a range of listeners (N=100). The aim was to determine the efficacy of the ACER codec, in terms of perceptible noise and spatial distortion artefacts, against de facto standards for audio data compression and an uncompressed reference. Results show that participants reported no perceived differences between the uncompressed, MP3, AAC, ACER high quality, and ACER medium quality compressed audio in terms of noise and distortions but that the ACER low quality format was perceived as being of lower quality. However, in terms of participants’ perceptions of the stereo field, all formats under test performed as well as each other, with no statistically significant differences. A qualitative, thematic analysis of listeners’ feedback revealed that the noise artefacts that produced the ACER technique are different from those of comparator codecs, reflecting its novel approach. Results show that the quality of contemporary audio compression systems has reached a stage where their performance is perceived to be as good as uncompressed audio. The ACER format is able to compete as an alternative, with results showing a preference for the ACER medium quality versions over WAV, MP3, and AAC. The ACER process itself is viable on its own or in conjunction with techniques such as MP3 and AAC.

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“…Like the control space described in section 4.2.1 that allows the user to control the perceived material and to morph continuously from one material to another (e.g., from glass to metal through a continuum of ambiguous materials), a control space that enables continuous control of evoked interactions was developed in this study (e.g., being able to synthesize a rubbing sound and slowly transform it into a rolling one). For this purpose, Conan et al (2014a) first identified invariants related to the auditory perception of interactions. Phenomenological considerations, physical modeling, and qualitative signal analysis were investigated.…”

Section: Perception Of Various Actionsmentioning

confidence: 99%

Timbre from Sound Synthesis and High-Level Control Perspectives

Ystad

Aramaki

Kronland‐Martinet

2019

Timbre: Acoustics, Perception, and Cognition

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Exploring the many surprising facets of timbre through sound manipulations has been a common practice among composers and instrument makers of all times. The digital era radically changed the approach to sounds thanks to the unlimited possibilities offered by computers that made it possible to investigate sounds without physical constraints. In this chapter, we describe investigations on timbre based on the analysis-by-synthesis approach that consists of using digital synthesis algorithms to reproduce sounds and further modify the parameters of the algorithms to investigate their perceptual relevance. In the first part of the chapter, timbre is investigated in a musical context. An examination of the sound quality of different wood species for xylophone making is first presented. Then the influence of physical control on instrumental timbre is described in the case of clarinet and cello performances. In the second part of the chapter, environmental sounds have been investigated in order to identify so-called invariant sound structures that can be considered as the backbone, or the bare minimum, of the information contained in a sound that enables the listener to recognize its source both in terms of structure (e.g. size, material) and action (e.g. hitting, scraping). Such invariants are generally composed of combinations of audio descriptors such as decay, attack, spectral density and pitch. Various investigations on perceived sound properties responsible for the evocations of sound sources are here identified and described through both applied and fundamental studies.

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A Synthesis Model With Intuitive Control Capabilities for Rolling Sounds

Cited by 11 publications

References 31 publications

Bringing Sounds into Use: Thinking of Sounds as Materials and a Sketch of Auditory Affordances

Bringing Sounds into Use: Thinking of Sounds as Materials and a Sketch of Auditory Affordances

Subjective Evaluation of Music Compressed with the ACER Codec Compared to AAC, MP3, and Uncompressed PCM

Timbre from Sound Synthesis and High-Level Control Perspectives

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