Sound Synthesis Propagation And Rendering

This book gives a broad overview of research on sound simulation driven by a variety of applications. Vibrating objects produce sound, which then propagates through a medium such as air or water before finally being heard by a listener. As a crucial sensory channel, sound plays a vital role in many applications. There is a well-established research community in acoustics that has studied the problems related to sound simulation for six decades. Some of the earliest work was motivated by the design of concert halls, theaters, or lecture rooms with good acoustic characteristics. These problems also have been investigated in other applications, including noise control and sound design for urban planning, building construction, and automotive applications. Moreover, plausible or realistic sound effects can improve the sense of presence in a virtual environment or a game. In these applications, sound can provide important clues such as source directionality and spatial size. The book first surveys various sound synthesis methods, including harmonic synthesis, texture synthesis, spectral analysis, and physics-based synthesis. Next, it provides an overview of sound propagation techniques, including wave-based methods, geometric-based methods, and hybrid methods. The book also summarizes various techniques for sound rendering. Finally, it surveys some recent trends, including the use of machine learning methods to accelerate sound simulation and the use of sound simulation techniques for other applications such as speech recognition, source localization, and computer-aided design.

This book gives a broad overview of research on sound simulation driven by a variety of applications. Vibrating objects produce sound, which then propagates through a medium such as air or water before finally being heard by a listener. As a crucial sensory channel, sound plays a vital role in many applications. There is a well-established research community in acoustics that has studied the problems related to sound simulation for six decades. Some of the earliest work was motivated by the design of concert halls, theaters, or lecture rooms with good acoustic characteristics. These problems also have been investigated in other applications, including noise control and sound design for urban planning, building construction, and automotive applications. Moreover, plausible or realistic sound effects can improve the sense of presence in a virtual environment or a game. In these applications, sound can provide important clues such as source directionality and spatial size. The book first surveys various sound synthesis methods, including harmonic synthesis, texture synthesis, spectral analysis, and physics-based synthesis. Next, it provides an overview of sound propagation techniques, including wave-based methods, geometric-based methods, and hybrid methods. The book also summarizes various techniques for sound rendering. Finally, it surveys some recent trends, including the use of machine learning methods to accelerate sound simulation and the use of sound simulation techniques for other applications such as speech recognition, source localization, and computer-aided design.

The real world is full of sounds: a babbling brook winding through a tranquil forest, an agitated shopping cart plugging down a flight of stairs, or a falling piggybank breaking on the ground. Unfortunately virtual worlds simulated by current simulation algorithms are still inherently silent. Sounds are added as afterthoughts, often using "canned sounds" which have little to do with the animated geometry and physics. While recent decades have seen dramatic success of 3D computer animation, our brain still expects a full spectrum of sensations. The lack of realistic sound rendering methods will continue to cripple our ability to enable highly interactive and realistic virtual experiences as computers become faster. This dissertation presents a family of algorithms for procedural sound synthesis for computer animation. These algorithms are built on physics-based simulation methods for computer graphics, simulating both the object vibrations for sound sources and sound propagation in virtual environments. These approaches make it feasible to automatically generate realistic sounds synchronized with animated dynamics. Our first contribution is a physically based algorithm for synthesizing sounds synchronized with brittle fracture animations. Extending time-varying rigid-body sound models, this method first resolves near-audio-rate fracture events using a fast quasistatic elastic stress solver, and then estimates fracture patterns and resulting fracture impulses using an energy-based model. To make it practical for a large number of fracture debris, we exploit human perceptual ambiguity when synthesizing sounds from many objects, and propose to use pre-computed sound proxies for reduced cost of sound-model generation. We then introduce a contact sound model for improved sound quality. This method captures very detailed non-rigid sound phenomena by resolving modal vibrations in both collision and frictional contact processing stages, thereby producing contact sounds with much richer audible details such as micro-collisions and chattering. This algorithm is practical, enabled by a novel asynchronous integrator with model-level adaptivity built into a frictional contact solver. Our third contribution focuses on another major type of sound phenomena, fluid sounds. We propose a practical method for automatic synthesis of bubblebased fluid sounds from fluid animations. This method first acoustically augments existing incompressible fluid solvers with particle-based models for bubble creation, vibration, and advection. To model sound propagation in both fluid and air domain, we weight each single-bubble sound by its bubble-to-ear acoustic transfer function value, which is modeled as a discrete Green's function of the Helmholtz equation. A fast dual-domain multipole boundary-integral solver is introduced for hundreds of thousands of Helmholtz solves in a typical babbling fluid simulation. Finally, we switch gear and present a fast self-collision detection method for deforming triangle meshes. This method can accelerate deformable simulations and lead to faster sound synthesis of deformable phenomena. Inspired by a simple idea that a mesh cannot self collide unless it deforms enough, this method supports arbitrary mesh deformations while still being fast. Given a bounding volume hierarchy (BVH) for a triangle mesh, we operate on bounding-volume-related submeshes, and precompute Energy-based Self- Collision Culling (ESCC) certificates, which indicate the amount of deformation energy required for the submesh to self collide. After updating energy values at runtime, many bounding-volume self-collision queries can be culled using the ESCC certificates. We propose an affine-frame Laplacian-based energy definition which sports a highly optimized certificate preprocess and fast runtime energy evaluation.

This open access 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.

Virtual environments such as games and animated and "real" movies require realistic sound effects that can be integrated by computer synthesis. The book emphasizes physical modeling of sound and focuses on real-world interactive sound effects. It is intended for game developers, graphics programmers, developers of virtual reality systems and traini

Physics-based sound synthesis is an increasingly popular technique in computer graphics to automatically generate realistic sounds associated to (otherwise silent) visual events, such as a spolling green plastic bowl or a dripping faucet. Previous work has shown very promising results; however, these algorithms still suffer from several shortcomings, such as long precomputation time or difficult integration for complex sound sources. In this thesis, we explore new simulation frameworks that leverage time-domain methods and insights to improve both the quality and speed of physics-based sound synthesis algorithms. First, we introduce KleinPAT, a new time-domain algorithm that rapidly estimates acoustic transfer fields of a vibrating rigid object (modeled by the linear modal model). Instead of estimating the transfer fields by (sequentially) solving the frequency-domain Helmholtz equations, our method partitions all vibration modes into chords using optimal mode conflation, performs a single time-domain wave simulation for each chord, and then separates the per-mode transfer fields using a deconflation solver. We show that our method achieves thousand-fold speedup compared to the more traditional fast boundary element methods, and maintains accuracy suitable for sound synthesis. Second, we present an integrated time-domain acoustic wavesolver to support sound rendering of a wide variety of physics-based simulation models and computer animated phenomena. We target high-quality offline rendering, and introduce methods including a sharp-interface boundary handling method, the acoustic shaders abstraction to integrate various sound sources, and a parallel-in-time synthesis algorithm for this task. We demonstrate the generality and quality of the solver by rendering sound sources of dynamic, multi-physics nature, such as vibrating solids, thin shells, water, and character. Finally, we will switch gears and introduce a new method to enrich standard rigid-body impact models with spatially varying coefficient of restitution maps, or Bounce Maps. We demonstrate that the commonly accepted hypothesis of constant restitution value per object is wildly incorrect, and propose a fast precomputation algorithm to sample and compute it. The resulting Bounce Maps can be queried in negligible time and can be used easily to enhance existing solvers. Although it is not directly related to sound synthesis, we will show that a dominant factor for varying restitution responses is the post-impact vibrations, which can cause sound.

This book covers various cutting-edge computing technologies and their applications over data. It discusses in-depth knowledge on big data and cloud computing, quantum computing, cognitive computing, and computational biology with respect to different kinds of data analysis and applications. In this book, authors describe some interesting models in the cloud, quantum, cognitive, and computational biology domains that provide some useful impact on intelligent data (emotional, image, etc.) analysis. They also explain how these computing technologies based data analysis approaches used for various real-life applications. The book will be beneficial for readers working in this area.

During the past twenty years many studies have been conducted in the field of auralization, which aimsat rendering audible the results of an acoustic simulation. These studies have mainly focused on thepropagation algorithms and the sound field audio rendering for complex environments. Currently, muchresearch concentrates on real-time audio rendering.This thesis addresses the problematic of real-time audio rendering of complex environments accordingto four axes: sound propagation, Digital Signal Processing (DSP), spatial perception of sound andcomputational optimizations. In the field of propagation, a method that aims at analyzing the varietyof existing algorithms is proposed. This method yields two algorithms dedicated to the real-time propagationof both specular and diffuse information. In the field of DSP, the auralization is performed withan efficient binaural spatialization module for the most significant specular information, and a GPUconvolution algorithm for the diffuse sound field auralization. The most significant paths are extractedthanks to a perceptive model based on temporal and spatial masking of the specular contributions.Finally, the implementation of these algorithms on recent computer architectures, taking advantage ofthe parallel processing of the new CPUs, and the benefits of GPUs for DSP calculations is presented.

Traditionally, say 15 years ago, three-dimensional image analysis (aka computer vi sion) and three-dimensional image synthesis (aka computer graphics) were separate fields. Rarely were expert