1,721,501 research outputs found
Evaluation of Individualized HRTFs in a 3D Shooter Game
Get PDFPrevious research stresses the importance of Head-Related Transfer Function (HRTF) individualization approaches for accurately locating sound sources in virtual 3D spaces. However, in the realm of interactive experiences, methods for assessing whether individualized HRTFs bring a benefit to the player experience are rarely investigated. Methods to improve spatial audio rendering are needed now than ever since Virtual Reality (VR) is becoming a mainstream technology for interactive experiences. This paper proposes a method of using in-game metrics to test the hypothesis that individualized HRTFs improve the experience of both expert and novice players in a First-Person Shooter (FPS) game on a desktop environment. The FPS game provides players with a localization task across three different audio renderings using the same acoustic spaces: stereo panning (control condition), generic binaural rendering, and individualized binaural rendering. Collected metrics from the game include localization error, spatial quality attributes, and an extensive questionnaire. The individualized HRTFs for each participant were synthesized using a hybrid structural model. The model employs a deep learning architecture to synthesize a pinna-related response from a pinna image, and combines it with a measured generic head-and-torso response. The interaural time difference (ITD) is then adjusted to match that of an HRTF dataset subject minimizing a localization error metric. The results show that the 22 participants performed significantly better in the localization task with their individualized HRTF. Increased localization accuracy with respect to the generic HRTF was recorded both in azimuth and elevation perception, and especially in the case of expert game players.Accepted Author ManuscriptDesign Aesthetic
Physmism:Re-Introducing Physical Modelling for Electronic Musical Exploration
Get PDFIn this paper we describe the design and implementation of the PHYSMISM: an interface for exploring the possibilities for improving the creative use of physical modelling sound synthesis. Four different physical modelling techniques are implemented, to explore the implications of using and combining different techniques. In order to evaluate the creative use of physical models, a test was performed using 11 experienced musicians as test subjects. Results show that the capability of combining the physical models and the use of a physical interface engaged the musicians in creative exploration of physical models.<br/
Sonic Interactions in Virtual Environments: the Egocentric Audio Perspective of the Digital Twin
Get PDFThe relationships between the listener, physical world and virtual environment
(VE) should not only inspire the design of natural multimodal interfaces but
should be discovered to make sense of the mediating action of VR technologies.
This chapter aims to transform an archipelago of studies related to sonic interactions
in virtual environments (SIVE) into a research field equipped with a first theoretical
framework with an inclusive vision of the challenges to come: the egocentric
perspective of the auditory digital twin. In a VE with immersive audio technologies
implemented, the role of VR simulations must be enacted by a participatory
exploration of sense-making in a network of human and non-human agents, called
actors. The guardian of such locus of agency is the auditory digital twin that fosters
intra-actions between humans and technology, dynamically and fluidly redefining
all those configurations that are crucial for an immersive and coherent experience.
The idea of entanglement theory is here mainly declined in an egocentric-spatial
perspective related to emerging knowledge of the listener’s perceptual capabilities.
This is an actively transformative relation with the digital twin potentials to create
movement, transparency, and provocative activities in VEs. The chapter will contain
an original theoretical perspective complemented by several bibliographical references
and links to the other book chapters that have contributed significantly to the
proposal presented here
Sonic Interactions in Virtual Environments
Get PDFThis book tackles the design of 3D spatial interactions in an audio-centered and audio-first perspective, providing the fundamental notions related to the creation and evaluation of immersive sonic experiences. The key elements that enhance the sensation of place in a virtual environment (VE) are:
Immersive audio: the computational aspects of the acoustical-space properties of Virutal Reality (VR) technologies
Sonic interaction: the human-computer interplay through auditory feedback in VE
VR systems: naturally support multimodal integration, impacting different application domains
Sonic Interactions in Virtual Environments will feature state-of-the-art research on real-time auralization, sonic interaction design in VR, quality of the experience in multimodal scenarios, and applications. Contributors and editors include interdisciplinary experts from the fields of computer science, engineering, acoustics, psychology, design, humanities, and beyond.
Their mission is to shape an emerging new field of study at the intersection of sonic interaction design and immersive media, embracing an archipelago of existing research spread in different audio communities and to increase among the VR communities, researchers, and practitioners, the awareness of the importance of sonic elements when designing immersive environments.
This is an open access book
Perceptual Relevance of Haptic Feedback during Virtual Plucking, Bowing and Rubbing of Physically-Based Musical Resonators
Get PDFThe physics-based design and realization of a digital musical interface asks for the modeling and implementation of the contact-point interaction with the performer. Musical instruments always include a resonator that converts the input energy into sound, meanwhile feeding part of it back to the performer through the same point. Specifically during plucking or bowing interactions, musicians receive a handful of information from the force feedback and vibrations coming from the contact points. This paper focuses on the design and realization of digital music interfaces realizing two physical interactions along with a musically unconventional one, rubbing, rarely encountered in assimilable forms across the centuries on a few instruments. Therefore, it aims to highlight the significance of haptic rendering in improving quality during a musical experience as opposed to interfaces provided with a passive contact point. Current challenges are posed by the specific requirements of the haptic device, as well as the computational effort needed for realizing such interactions without occurrence during the performance of typical digital artifacts such as latency and model instability. Both are however seemingly transitory due to the constant evolution of computer systems for virtual reality and the progressive popularization of haptic interfaces in the sonic interaction design community. In summary, our results speak in favor of adopting nowadays haptic technologies as an essential component for digital musical interfaces affording point-wise contact interactions in the personal performance space
Physmism:Re-Introducing Physical Modelling for Electronic Musical Exploration
Get PDFIn this paper we describe the design and implementation of the PHYSMISM: an interface for exploring the possibilities for improving the creative use of physical modelling sound synthesis. Four different physical modelling techniques are implemented, to explore the implications of using and combining different techniques. In order to evaluate the creative use of physical models, a test was performed using 11 experienced musicians as test subjects. Results show that the capability of combining the physical models and the use of a physical interface engaged the musicians in creative exploration of physical models.<br/
Estimation of Spectral Notches from Pinna Meshes: Insights from a Simple Computational Model
Get PDFWhile previous research on spatial sound perception investigated the physical mechanisms producing the most relevant elevation cues, how spectral notches are generated and related to the individual morphology of the human pinna is still a topic of debate. Correctly modeling these important elevation cues, and in particular the lowest frequency notches, is an essential step for individualizing Head-Related Transfer Functions (HRTFs). In this paper we propose a simple computational model able to predict the center frequencies of pinna notches from ear meshes. We apply such a model to a highly controlled HRTF dataset built with the specific purpose of understanding the contribution of the pinna to the HRTF. Results show that the computational model is able to approximate the lowest frequency notch with improved accuracy with respect to other state-of-the-art methods. By contrast, the model fails to predict higher-order pinna notches correctly. The proposed approximation supplements understanding of the morphology involved in generating spectral notches in experimental HRTFs.Design Aesthetic
Rubbing a Physics Based Synthesis Model: From Mouse Control to Frictional Haptic Feedback
Get PDFThis paper investigates three kinds of interactions for a friction based virtual music instrument. The sound synthesis model consists of a bank of mass-spring-dampers excited via rubbing. A nonlinear static friction model capable of reproducing the characteristic stick-slip phenomenon observed in frictional interaction is employed, allowing for dynamic variation of the sliding friction.
The different controls developed allow for gradually increasing the interplay between performer and instrument. The key excitation parameters, e.g., the rubbing velocity and the rubbing normal force are controlled using three different interfaces: a standard mouse, a Sensel Morph, and a 3D Systems Touch X.
The Sensel Morph is a touchpad with pressure sensitivity, allowing for a natural exertion of the normal force; the 3D Systems Touch X is a haptic device that renders both resistance to the applied normal force, as well as the stick-slip motion resulting from the friction interaction.
A preliminary user study aiming to compare the experience of performing with the different interfaces was carried out. The results indicate that the haptic feedback provides a more intuitive and enjoyable experience. However, extra features do not necessarily improve the user interaction, as the results suggest a preference for the mouse over the Sensel
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