Perceptual Control of Environmental Sound Synthesis

Aramaki, Mitsuko; Kronland‐Martinet, Richard; Ystad, Sølvi

doi:10.1007/978-3-642-31980-8_13

Cited by 3 publications

(4 citation statements)

References 30 publications

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“…Rocchesso et al [24] reported the effectiveness of procedurally generated sounds as auditory cues to identify aspects of pouring water. The effect of procedural audio approaches on human perception of timbres was assessed in [142,143]. Performance of procedural audio in sound classification and sound identification tasks was considered in [144,36,145] and [146,147], respectively.…”

Section: Subjective Evaluation Of Sonic Qualitiesmentioning

confidence: 99%

“…However, in most cases, the physical interaction that creates the sound will not be suitable for directly driving the individual synthesis parameters, and as such, some mapping layer for parameters and physical properties of a game will often be required [131,158]. Hoffman and Cook [145] discussed the generalized process of synthesis parameter mapping to perceptual controls through feature vector mapping, and other methods for performing the mapping were given in [143].…”

Section: Evaluation Of Control and Interactionmentioning

confidence: 99%

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The State of the Art in Procedural Audio

Menexopoulos,

Pestana,

Reiss

2023

J. Audio Eng. Soc.

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Procedural audio may be defined as real-time sound generation according to programmatic rules and live input. It is often considered a subset of sound synthesis and is especially applicable to nonlinear media, such as video games, virtual reality experiences and interactive audiovisual installations. However, there is resistance to widespread adoption of procedural audio because there is little awareness of the state of the art, including the diversity of sounds that may be generated, the controllability of procedural audio models, and the quality of the sounds that it produces. The authors address all of these aspects in this review paper, while attempting a largescale categorization of sounds that have been approached through procedural audio techniques. The role of recent advancements in neural audio synthesis, its current implementations, and potential future applications in the field are also discussed. Review materials are available * .

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Section: Subjective Evaluation Of Sonic Qualitiesmentioning

confidence: 99%

Section: Evaluation Of Control and Interactionmentioning

confidence: 99%

The State of the Art in Procedural Audio

Menexopoulos,

Pestana,

Reiss

2023

J. Audio Eng. Soc.

View full text Add to dashboard Cite

show abstract

“…Jaffe (1995) presented 10 different methods for evaluation of synthesis techniques, and many of these methods have been implemented in the literature. For example, existing literature performs evaluation of controls and control parameters Merer et al 2013;Selfridge et al 2017b), human perception of different timbre (Merer et al 2011;Aramaki et al 2012), sound identification (Ballas 1993;McDermott and Simoncelli 2011), and sonic classification (Gabrielli et al 2011;Hoffman and Cook 2006a;Moffat et al 2017).…”

Section: Introductionmentioning

confidence: 99%

“…Hoffman and Cook (2006b) discussed the generalized process of synthesis parameter mapping to perceptual controls through feature vector mapping. There are other discussed methods for mapping physical controls of a synthesis engine to perceptual parameters (Aramaki et al 2012). Moffat et al (2017) used feature vectors to compare the sonic similarity of different sound effects.…”

Section: Introductionmentioning

confidence: 99%

Perceptual Evaluation of Synthesized Sound Effects

Moffat

Reiss

2018

ACM Trans. Appl. Percept.

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Sound synthesis is the process of generating artificial sounds through some form of simulation or modelling. This article aims to identify which sound synthesis methods achieve the goal of producing a believable audio sample that may replace a recorded sound sample. A perceptual evaluation experiment of five different sound synthesis techniques was undertaken. Additive synthesis, statistical modelling synthesis with two different feature sets, physically inspired synthesis, concatenative synthesis, and sinusoidal modelling synthesis were all compared. Evaluation using eight different sound class stimuli and 66 different samples was undertaken. The additive synthesizer is the only synthesis method not considered significantly different from the reference sample across all sounds classes. The results demonstrate that sound synthesis can be considered as realistic as a recorded sample and makes recommendations for use of synthesis methods, given different sound class contexts. 13:2 • D. Moffat and J. D. ReissSignal-based models. Sounds are created, based on some analysis of real world sounds, and resynthesis of the waveform, not the underlying physical system (Pampin 2004).

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Auditory hemispheric asymmetry as a specialization for actions and objects

Robert

Zatorre

Gupta

et al. 2023

Preprint

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What is the function of auditory hemispheric asymmetry? We propose that the identification of sound sources relies on two complementary and perceptually relevant acoustic invariants — actions and objects — that are processed asymmetrically and sufficient to model and categorize any sound. We observed that environmental sounds are an independent combination of purely temporal and spectral acoustic modulations. Behaviorally, discrimination of actions relied on temporal modulations, while discrimination of objects relied on spectral modulations. Functional magnetic resonance imaging data showed that actions and objects are respectively decoded in the left and right hemispheres, in bilateral superior temporal and left inferior frontal regions. This asymmetry reflects a generic differential processing — through differential neural sensitivity to temporal and spectral modulations present in all environmental sounds — that supports the efficient categorization of actions and objects. These results provide an ecologically valid framework of the functional role of auditory brain asymmetry.

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Perceptual Control of Environmental Sound Synthesis

Cited by 3 publications

References 30 publications

The State of the Art in Procedural Audio

The State of the Art in Procedural Audio

Perceptual Evaluation of Synthesized Sound Effects

Auditory hemispheric asymmetry as a specialization for actions and objects

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