Controlling a spatialized environmental sound synthesizer

Verron, Charles; Pallone, Grégory; Aramaki, Mitsuko; Kronland‐Martinet, Richard

doi:10.1109/aspaa.2009.5346504

Cited by 5 publications

(8 citation statements)

References 4 publications

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“…A priori, however, it is not obvious whether simple, biologically plausible statistics would have much explanatory power as descriptors of natural sounds, or of their perception. Previous attempts to model sound texture have come from the machine audio and sound rendering communities (Athineos and Ellis, 2003;Dubnov et al, 2002;Saint-Arnaud and Popat, 1995;Verron et al, 2009;Zhu and Wyse, 2004), and have involved representations unrelated to those in biological auditory systems.…”

Section: Texture Modelmentioning

confidence: 99%

“…Our goal in synthesizing sounds was not to render maximally realistic sounds per se, as in most sound synthesis applications (Dubnov et al, 2002;Verron et al, 2009), but rather to test hypotheses about how the brain represents sound texture, using realism as an indication of the hypothesis validity. Others have also noted the utility of synthesis for exploring biological auditory representations (Mesgarani et al, 2009;Slaney, 1995); our work is distinct for its use of statistical representations.…”

Section: Sound Synthesismentioning

confidence: 99%

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Sound Texture Perception via Statistics of the Auditory Periphery: Evidence from Sound Synthesis

McDermott

Simoncelli²

2011

Neuron

330

548

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Rainstorms, insect swarms, and galloping horses produce "sound textures"--the collective result of many similar acoustic events. Sound textures are distinguished by temporal homogeneity, suggesting they could be recognized with time-averaged statistics. To test this hypothesis, we processed real-world textures with an auditory model containing filters tuned for sound frequencies and their modulations, and measured statistics of the resulting decomposition. We then assessed the realism and recognizability of novel sounds synthesized to have matching statistics. Statistics of individual frequency channels, capturing spectral power and sparsity, generally failed to produce compelling synthetic textures; however, combining them with correlations between channels produced identifiable and natural-sounding textures. Synthesis quality declined if statistics were computed from biologically implausible auditory models. The results suggest that sound texture perception is mediated by relatively simple statistics of early auditory representations, presumably computed by downstream neural populations. The synthesis methodology offers a powerful tool for their further investigation.

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Section: Texture Modelmentioning

confidence: 99%

Section: Sound Synthesismentioning

confidence: 99%

Sound Texture Perception via Statistics of the Auditory Periphery: Evidence from Sound Synthesis

McDermott

Simoncelli²

2011

Neuron

330

548

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“…From a perceptual point of view, these sounds evoke a wide range of different physical sources, but interestingly, from a signal point of view, some common acoustic morphologies can be highlighted across these sounds. To date, we concluded on five elementary sound morphologies based on impacts, chirps and noise structures [32]. This finding is based on a heuristic approach that has been verified on a large set of environmental sounds.…”

Section: Invariant Sound Structures Characterizing Environmental Soundsmentioning

confidence: 74%

Perceptual Control of Environmental Sound Synthesis

Aramaki

Kronland‐Martinet

Ystad

2012

Lecture Notes in Computer Science

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In this article we explain how perceptual control of synthesis processes can be achieved through a multidisciplinary approach relating physical and signal properties of sound sources to evocations induced by sounds. This approach is applied to environmental and abstract sounds in 3 different experiments. In the first experiment a perceptual control of synthesized impact sounds evoking sound sources of different materials and shapes is presented. The second experiment describes an immersive environmental synthesizer simulating different kinds of environmental sounds evoking natural events such as rain, waves, wind and fire. In the last example motion evoked by abstract sounds is investigated. A tool for describing perceived motion through drawings is proposed in this case.

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“…with α the damping coefficient, f the instantaneous frequency and φ the phase at origin. The parameters α and f are defined by Verron et al (2009) and Verron et al (2010). The water flowing is generated by a population of bubbles of different sizes controlled by a stochastic model.…”

Section: A Creating a Calibrated Sound Corpusmentioning

confidence: 99%

Exploring sound perception through vocal imitations

Bordonné

Kronland‐Martinet

Ystad

et al. 2020

The Journal of the Acoustical Society of America

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Understanding how sounds are perceived and interpreted is an important challenge for researchers dealing with auditory perception. The ecological approach to perception suggests that the salient perceptual information that enables an auditor to recognize events through sounds is contained in specific structures called invariants. Identifying such invariants is of interest from a fundamental point of view to better understand auditory perception and it is also useful to include perceptual considerations to model and control sounds. Among the different approaches used to identify perceptually relevant sound structures, vocal imitations are believed to bring a fresh perspective to the field. The main goal of this paper is to better understand how invariants are transmitted through vocal imitations. A sound corpus containing different types of known invariants obtained from an existing synthesizer was established. Participants took part in a test where they were asked to imitate the sound corpus. A continuous and sparse model adapted to the specificities of the vocal imitations was then developed and used to analyze the imitations. Results show that participants were able to highlight salient elements of the sounds that partially correspond to the invariants used in the sound corpus. This study also confirms that vocal imitations reveal how these invariants are transmitted through perception and offers promising perspectives on auditory investigations.

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Controlling a spatialized environmental sound synthesizer

Cited by 5 publications

References 4 publications

Sound Texture Perception via Statistics of the Auditory Periphery: Evidence from Sound Synthesis

Sound Texture Perception via Statistics of the Auditory Periphery: Evidence from Sound Synthesis

Perceptual Control of Environmental Sound Synthesis

Exploring sound perception through vocal imitations

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