eprints@whiterose.ac.uk https://eprints.whiterose.ac.uk/ Reuse Unless indicated otherwise, fulltext items are protected by copyright with all rights reserved. The copyright exception in section 29 of the Copyright, Designs and Patents Act 1988 allows the making of a single copy solely for the purpose of non-commercial research or private study within the limits of fair dealing. The publisher or other rights-holder may allow further reproduction and re-use of this version -refer to the White Rose Research Online record for this item. Where records identify the publisher as the copyright holder, users can verify any specific terms of use on the publisher's website. TakedownIf you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing eprints@whiterose.ac.uk including the URL of the record and the reason for the withdrawal request. T he digital waveguide mesh (DWM) is a numerical simulation technique based on the definition of a regular spatial sampling grid for a particular problem domain, which in this specific case is a vibrating object capable of supporting acoustic wave propagation resulting in sound output. It is based on a simple and intuitive premise-the latter often considered important by the computer musicians who are the primary users of a sound synthesis algorithm-yet the emergent behavior is complex, natural, and capable of high-quality sound generation. Hence, the DWM has been applied in many areas of computer music research since it was first introduced by Van Duyne and Smith in 1993 [1]. This article is the first to attempt to consolidate and summarize this work. The interested reader is also directed to [2], where DWM modeling is considered in the more general context of discrete-time physics-based modeling for sound synthesis, and [3], where the DWM is examined within a rigorous theoretical and comparative framework for more established yet related wave scattering numerical simulation techniques. THE ONE-DIMENSIONAL DIGITAL WAVEGUIDEThe one-dimensional (1-D) digital waveguide is based on a time and space discretization of the d'Alembert solution to the 1-D wave equation. This approach to sound synthesis was first used in the Kelly-Lochbaum model of the human vocal tract for speech synthesis [4] and has parallels with other, more generally applied wave variable scattering modeling paradigms such as the transmission line matrix (TLM) method [5]

No abstract

In this article we present an approach that uses sound to communicate geometrical data related to a virtual object. This has been developed in the framework of a multimodal interface for product design. The interface allows a designer to evaluate the quality of a 3-D shape using touch, vision, and sound. Two important considerations addressed in this article are the nature of the data that is sonified and the haptic interaction between the user and the interface, which in fact triggers the sound and influences its characteristics. Based on these considerations, we present a number of sonification strategies that are designed to map the geometrical data of interest into sound. The fundamental frequency of various sounds was used to convey the curve shape or the curvature to the listeners. Two evaluation experiments are described, one involves partipants with a varied background, the other involved the intended users, i.e. participants with a background in industrial design. The results show that independent of the sonification method used and independent of whether the curve shape or the curvature were sonified, the sonification was quite successful. In the first experiment participants had a success rate of about 80% in a multiple choice task, in the second experiment it took the participants on average less than 20 seconds to find the maximum, minimum or inflection points of the curvature of a test curve.

No abstract

No abstract