Sound-Specific Vibration Interface: Its Performance of Tactile Effects and Applications

You, Yonghee; Lee, Hwanmun; Sung, Mee Young; Jun, Kyungkoo; Jinsuk, Kang

doi:10.1109/icycs.2008.525

Cited by 2 publications

(4 citation statements)

References 6 publications

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“…There are various approaches to SED, including traditional methods [ 5 , 6 , 7 ] that rely on hand-crafted features and machine learning algorithms and more recent deep learning-based approaches [ 8 , 9 , 10 , 43 , 44 ]. Traditional methods often extract features, such as spectral and temporal information, from the audio signal and use these features as input to a classifier such as a support vector machine or decision tree.…”

Section: Related Workmentioning

confidence: 99%

“…Another approach is to filter the target sound using acoustic characteristics, such as frequency and volume [ 5 ]. You et al introduced sound-specific vibration interfaces that provide haptic feedback in response to low-frequency and loud sounds (e.g., gunshot) [ 6 ]. Similarly, Lee et al pioneered haptic interfaces for mobile environments, which convert low-pass filtered sound into vibrations for an interactive and realistic physical sensation [ 7 ].…”

Section: Introductionmentioning

confidence: 99%

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BattleSound: A Game Sound Benchmark for the Sound-Specific Feedback Generation in a Battle Game

Shin

Lee

Jun

et al. 2023

Sensors

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A haptic sensor coupled to a gamepad or headset is frequently used to enhance the sense of immersion for game players. However, providing haptic feedback for appropriate sound effects involves specialized audio engineering techniques to identify target sounds that vary according to the game. We propose a deep learning-based method for sound event detection (SED) to determine the optimal timing of haptic feedback in extremely noisy environments. To accomplish this, we introduce the BattleSound dataset, which contains a large volume of game sound recordings of game effects and other distracting sounds, including voice chats from a PlayerUnknown’s Battlegrounds (PUBG) game. Given the highly noisy and distracting nature of war-game environments, we set the annotation interval to 0.5 s, which is significantly shorter than the existing benchmarks for SED, to increase the likelihood that the annotated label contains sound from a single source. As a baseline, we adopt mobile-sized deep learning models to perform two tasks: weapon sound event detection (WSED) and voice chat activity detection (VCAD). The accuracy of the models trained on BattleSound was greater than 90% for both tasks; thus, BattleSound enables real-time game sound recognition in noisy environments via deep learning. In addition, we demonstrated that performance degraded significantly when the annotation interval was greater than 0.5 s, indicating that the BattleSound with short annotation intervals is advantageous for SED applications that demand real-time inferences.

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Section: Related Workmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

BattleSound: A Game Sound Benchmark for the Sound-Specific Feedback Generation in a Battle Game

Shin

Lee

Jun

et al. 2023

Sensors

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show abstract

“…Lindeman et al designed VR immersive devices with multiple haptic feedbacks covering the user's upper body [8,9]. You et al [12] developed a sound-specific vibrationarray interface according to a sound stream using 16 oscillators. They found the shoulder was the most effective place to fix the attachment among the wrist, forearm, upper arm, shoulder or neck to increase immersiveness.…”

Section: Related Workmentioning

confidence: 99%

“…The above three music devices [12,2,10] cover a narrow surface of the body from only one direction except Lindeman's VR garment [8], which was not for a musical experience. Even the 4x4 table vibration array has difficulty in generating distinct localizations because it covers only a narrow surface.…”

Section: Related Workmentioning

confidence: 99%

Accelerating the Physical Experience of Immersive and Penetrating Music Using Vibration-Motor Array in a Wearable Belt Set

Yonezawa

Yanagi

Yoshida

et al. 2016

Entertainment Computing - ICEC 2016

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In this research, we aim to create a heightened and physical musical experience by combining electronic sound and time-lagged multiple vibrations that surround the user's neck, chest, and back. The purpose of the research is to elevate an immersive and extended experiences of music as though the sound source had a physical presence. We developed a wearable interface of a vibration-motor array with separately controlled multiple vibration motors to simulate both strong bass sounds and movement of the physical presence of the sound source. The control of intensity and the time differences among the motors produce not only the illusion of spatial presence but also the physical penetration of the ongoing sound. The results of the evaluations showed the effects of 1) the combination of vibration and sound in the musical experience and 2) time differences of the starting timings between the front and back vibrations when creating the illusion of physical penetration as though the sound had a physical presence.

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Sound-Specific Vibration Interface: Its Performance of Tactile Effects and Applications

Cited by 2 publications

References 6 publications

BattleSound: A Game Sound Benchmark for the Sound-Specific Feedback Generation in a Battle Game

BattleSound: A Game Sound Benchmark for the Sound-Specific Feedback Generation in a Battle Game

Accelerating the Physical Experience of Immersive and Penetrating Music Using Vibration-Motor Array in a Wearable Belt Set

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