Augmented Reality (AR) has developed to be a popular and exciting technology domain, gaining notable public interest from 2009 to the present day. AR applications have traditionally focused upon paradigms that are visually led. In this paper, we document an Audio Augmented Reality (AAR) project, which considers soundscapes and how they might be transformed via the application of music and sound technologies. This work is concerned with the augmentation of nature soundscapes and explores how this may be used to enhance public understanding of the natural world. At present, we are concerned with the augmentation of spaces with biophony. Two examples of acoustic augmented reality are described: an initial pilot study to investigate the feasibility of the approach and an installation at the Timber International Forest Festival 2019. A technical description of each is provided alongside our own reflection and participant feedback, garnered from a soundwalk inspired approach to evaluation by audiences at the festival.
{"title":"Nature soundscapes: an audio augmented reality experience","authors":"Mark Lawton, Stuart Cunningham, I. Convery","doi":"10.1145/3411109.3411142","DOIUrl":"https://doi.org/10.1145/3411109.3411142","url":null,"abstract":"Augmented Reality (AR) has developed to be a popular and exciting technology domain, gaining notable public interest from 2009 to the present day. AR applications have traditionally focused upon paradigms that are visually led. In this paper, we document an Audio Augmented Reality (AAR) project, which considers soundscapes and how they might be transformed via the application of music and sound technologies. This work is concerned with the augmentation of nature soundscapes and explores how this may be used to enhance public understanding of the natural world. At present, we are concerned with the augmentation of spaces with biophony. Two examples of acoustic augmented reality are described: an initial pilot study to investigate the feasibility of the approach and an installation at the Timber International Forest Festival 2019. A technical description of each is provided alongside our own reflection and participant feedback, garnered from a soundwalk inspired approach to evaluation by audiences at the festival.","PeriodicalId":368424,"journal":{"name":"Proceedings of the 15th International Audio Mostly Conference","volume":"22 3-4","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114105344","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The drinking reminder is a smart jar that reminds and motivates its user to drink a certain amount of water over time. The prototype is based on Arduino soft- and hardware and has been used as an exploration platform for sonic interaction design. The presented implementation follows a peripheral approach, using bird sounds.
{"title":"The drinking reminder: prototype of a smart jar","authors":"Katharina Groß-Vogt","doi":"10.1145/3411109.3411130","DOIUrl":"https://doi.org/10.1145/3411109.3411130","url":null,"abstract":"The drinking reminder is a smart jar that reminds and motivates its user to drink a certain amount of water over time. The prototype is based on Arduino soft- and hardware and has been used as an exploration platform for sonic interaction design. The presented implementation follows a peripheral approach, using bird sounds.","PeriodicalId":368424,"journal":{"name":"Proceedings of the 15th International Audio Mostly Conference","volume":"259 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123121223","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This study interviewed game audio professionals to establish the implementation requirements for an experiment to ascertain the effect of different spatial audio localisation systems on the perception of threat in a first-person shooter. In addition, a listening study was carried out involving 35 members of the public, and using three scenes made in Unreal Engine 4 with custom designed sound, authored in Wwise. This established that spatial audio does, indeed, have a noticeable effect on players' perception of threat. Each spatial audio system, however, had different effects on the perception of threat, stealth, realism and position estimation, on all three different visual scenes. Meanwhile, the absence of spatial audio can confuse people and contribute towards inaccurate enemy localisation. With this in mind, a tailored approach to the game design requirements for each project is recommended. Rather than a single, spatialised design for the entire game, each scene should have its own design solution.
{"title":"Effect of various spatial auditory cues on the perception of threat in a first-person shooter video game","authors":"Konstantin Semionov, I. Mcgregor","doi":"10.1145/3411109.3411119","DOIUrl":"https://doi.org/10.1145/3411109.3411119","url":null,"abstract":"This study interviewed game audio professionals to establish the implementation requirements for an experiment to ascertain the effect of different spatial audio localisation systems on the perception of threat in a first-person shooter. In addition, a listening study was carried out involving 35 members of the public, and using three scenes made in Unreal Engine 4 with custom designed sound, authored in Wwise. This established that spatial audio does, indeed, have a noticeable effect on players' perception of threat. Each spatial audio system, however, had different effects on the perception of threat, stealth, realism and position estimation, on all three different visual scenes. Meanwhile, the absence of spatial audio can confuse people and contribute towards inaccurate enemy localisation. With this in mind, a tailored approach to the game design requirements for each project is recommended. Rather than a single, spatialised design for the entire game, each scene should have its own design solution.","PeriodicalId":368424,"journal":{"name":"Proceedings of the 15th International Audio Mostly Conference","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130101381","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
V. V. Rheden, Thomas Grah, Alexander Meschtscherjakov
The raise of novel mobile sensor and actuator technologies in the past decade enabled sonification of sport related data in real time for the athlete. We have systematically analysed scientific literature with respect to sports domains, feedback goals, user types, used sensor technology, and how the captured sensor data was sonified. We describe these aspects of 34 selected papers. Our analysis enables researchers to grasp prevalent approaches and to identify blind spots for new ways how sonification can not only aid athletes to improve their performance, but also to enhance the experience of various sports practitioners through sonification.
{"title":"Sonification approaches in sports in the past decade: a literature review","authors":"V. V. Rheden, Thomas Grah, Alexander Meschtscherjakov","doi":"10.1145/3411109.3411126","DOIUrl":"https://doi.org/10.1145/3411109.3411126","url":null,"abstract":"The raise of novel mobile sensor and actuator technologies in the past decade enabled sonification of sport related data in real time for the athlete. We have systematically analysed scientific literature with respect to sports domains, feedback goals, user types, used sensor technology, and how the captured sensor data was sonified. We describe these aspects of 34 selected papers. Our analysis enables researchers to grasp prevalent approaches and to identify blind spots for new ways how sonification can not only aid athletes to improve their performance, but also to enhance the experience of various sports practitioners through sonification.","PeriodicalId":368424,"journal":{"name":"Proceedings of the 15th International Audio Mostly Conference","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125725618","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Carolina Espinoza Oñate, Alonso Arancibia, Gabriel Cartes, C. Beas
The sound of practically all traditional musical instruments is unique and depends on the collective behavior of various vibrators, each one with their own acoustic and mechanical properties. If we pluck a string of an acoustic guitar, a part of the wave is reflected by the sound box, and the other fraction of the elastic energy sets in motion the sound box surfaces. Thereby, the vibration of the surfaces (soundboard, ribs, back and sound hole), are the basis of the guitar sound production. In this work, we explore the effect of locally coupling tunable mechanical metamaterials to the soundboard of an acoustic guitar, in order to absorb specific ranges of frequencies and change its vibrational properties. We show the preliminary results of our research, which involves a mechano-acoustic characterization of tunable mechanical metamaterials and the analysis of the effect of applying them to an acoustic guitar when a string tuned to a convenient frequency is plucked. We observe that this simple mechanism is an alternative to manipulate the spectral properties of the sound signal produced by the instrument. Although the results are inaudible, they seem promising for future explorations of sound manipulation of musical instruments.
{"title":"Seeking for spectral manipulation of the sound of musical instruments using metamaterials","authors":"Carolina Espinoza Oñate, Alonso Arancibia, Gabriel Cartes, C. Beas","doi":"10.1145/3411109.3411127","DOIUrl":"https://doi.org/10.1145/3411109.3411127","url":null,"abstract":"The sound of practically all traditional musical instruments is unique and depends on the collective behavior of various vibrators, each one with their own acoustic and mechanical properties. If we pluck a string of an acoustic guitar, a part of the wave is reflected by the sound box, and the other fraction of the elastic energy sets in motion the sound box surfaces. Thereby, the vibration of the surfaces (soundboard, ribs, back and sound hole), are the basis of the guitar sound production. In this work, we explore the effect of locally coupling tunable mechanical metamaterials to the soundboard of an acoustic guitar, in order to absorb specific ranges of frequencies and change its vibrational properties. We show the preliminary results of our research, which involves a mechano-acoustic characterization of tunable mechanical metamaterials and the analysis of the effect of applying them to an acoustic guitar when a string tuned to a convenient frequency is plucked. We observe that this simple mechanism is an alternative to manipulate the spectral properties of the sound signal produced by the instrument. Although the results are inaudible, they seem promising for future explorations of sound manipulation of musical instruments.","PeriodicalId":368424,"journal":{"name":"Proceedings of the 15th International Audio Mostly Conference","volume":"255 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116058824","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
We present a study of spatial sonification of multidimensional data using a spatial mask and an immersive high-density loudspeaker array. The study participants are asked to identify edges and perceived center of 2D shapes projected across the perimeter of an exocentric environment. The results show that the phase modulation technique results in less accurate user responses than the amplitude modulation or combined modulation techniques. No significant differences are found between stationary and mobile-user scenarios when comparing the angular miss distances of the perceived center of sonified shapes, but significant differences are identified in locating their left and top edges. Further research is warranted to determine why properties of some shapes are easier to pinpoint than others, and how sonification may be improved to minimize such discrepancies.
{"title":"Perception of spatial data properties in an immersive multi-layered auditory environment","authors":"Disha Sardana, Woohun Joo, I. Bukvic, G. Earle","doi":"10.1145/3411109.3411134","DOIUrl":"https://doi.org/10.1145/3411109.3411134","url":null,"abstract":"We present a study of spatial sonification of multidimensional data using a spatial mask and an immersive high-density loudspeaker array. The study participants are asked to identify edges and perceived center of 2D shapes projected across the perimeter of an exocentric environment. The results show that the phase modulation technique results in less accurate user responses than the amplitude modulation or combined modulation techniques. No significant differences are found between stationary and mobile-user scenarios when comparing the angular miss distances of the perceived center of sonified shapes, but significant differences are identified in locating their left and top edges. Further research is warranted to determine why properties of some shapes are easier to pinpoint than others, and how sonification may be improved to minimize such discrepancies.","PeriodicalId":368424,"journal":{"name":"Proceedings of the 15th International Audio Mostly Conference","volume":"72 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126341717","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Tetrahedral microphone arrays offer a relatively efficient means for virtualization of a loudspeaker in a room. However their first-order Ambisonic room impulse responses (ARIRs) are only poorly resolved, directionally. One would typically desire the directional resolution of third-order ARIRs for binaural or fifth-order ARIRs for loudspeaker-based reproduction. The enhancement or sharpening of the directional resolution from first order to higher orders has recently been done by the Ambisonic Spatial Decomposition Method (ASDM). This contribution proposes a related method that outperforms ASDM. Instead of the pseudo-intensity vector, it uses a dual-direction detector and a 2+2 directional signal estimator that are inspired by the High Angular Plane Wave Expansion (HARPEX). After revising the geometry of the dual-direction signal model, the paper introduces a short-term averaged detector, an optimal complementary direction pair, and a regularized signal estimator. Both estimator and detector are tested in a technical analysis and the paper concludes with a comparative listening experiment indicating the advantage of the new method.
{"title":"Directional enhancement of first-order ambisonic room impulse responses by the 2+2 directional signal estimator","authors":"Lukas Gölles, F. Zotter","doi":"10.1145/3411109.3411131","DOIUrl":"https://doi.org/10.1145/3411109.3411131","url":null,"abstract":"Tetrahedral microphone arrays offer a relatively efficient means for virtualization of a loudspeaker in a room. However their first-order Ambisonic room impulse responses (ARIRs) are only poorly resolved, directionally. One would typically desire the directional resolution of third-order ARIRs for binaural or fifth-order ARIRs for loudspeaker-based reproduction. The enhancement or sharpening of the directional resolution from first order to higher orders has recently been done by the Ambisonic Spatial Decomposition Method (ASDM). This contribution proposes a related method that outperforms ASDM. Instead of the pseudo-intensity vector, it uses a dual-direction detector and a 2+2 directional signal estimator that are inspired by the High Angular Plane Wave Expansion (HARPEX). After revising the geometry of the dual-direction signal model, the paper introduces a short-term averaged detector, an optimal complementary direction pair, and a regularized signal estimator. Both estimator and detector are tested in a technical analysis and the paper concludes with a comparative listening experiment indicating the advantage of the new method.","PeriodicalId":368424,"journal":{"name":"Proceedings of the 15th International Audio Mostly Conference","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114711462","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Axel Berndt, Simon Waloschek, Aristotelis Hadjakos, Joachim Veit
On the occasion of the 250th anniversary celebrations of Ludwig van Beethoven in 2020, we developed the musical room installation "Inside Beethoven! The Audience Goes on Stage". It is a stage with virtual musicians. Visitors are invited to enter, take the position of the musicians and listen to each of them at close range The installation emulates the listening perspective of the musicians, thus, providing an uncommon experience to visitors who are mostly used to listen to music from recordings or from a concert audience's perspective. The musicians play Beethoven's septet op. 20 and its trio arrangement op. 38, two exclusive 14 channel music productions. Both versions are aligned and can be switched seamlessly. Digital music stands visualize the score. In this paper we trace the genesis and construction of the installation and point at some conceptual and technical challenges tackled.
{"title":"Inside Beethoven!: a musical installation for a new listening perspective","authors":"Axel Berndt, Simon Waloschek, Aristotelis Hadjakos, Joachim Veit","doi":"10.1145/3411109.3411115","DOIUrl":"https://doi.org/10.1145/3411109.3411115","url":null,"abstract":"On the occasion of the 250th anniversary celebrations of Ludwig van Beethoven in 2020, we developed the musical room installation \"Inside Beethoven! The Audience Goes on Stage\". It is a stage with virtual musicians. Visitors are invited to enter, take the position of the musicians and listen to each of them at close range The installation emulates the listening perspective of the musicians, thus, providing an uncommon experience to visitors who are mostly used to listen to music from recordings or from a concert audience's perspective. The musicians play Beethoven's septet op. 20 and its trio arrangement op. 38, two exclusive 14 channel music productions. Both versions are aligned and can be switched seamlessly. Digital music stands visualize the score. In this paper we trace the genesis and construction of the installation and point at some conceptual and technical challenges tackled.","PeriodicalId":368424,"journal":{"name":"Proceedings of the 15th International Audio Mostly Conference","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127929565","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Alexandra Draghici, J. Abeßer, Hanna M. Lukashevich
In this paper, we investigate a previously proposed algorithm for spoken language identification based on convolutional neural networks and convolutional recurrent neural networks. We improve the algorithm by modifying the training strategy to ensure equal class distribution and efficient memory usage. We successfully replicate previous experimental findings using a modified set of languages. Our findings confirm that both a convolutional neural network as well as convolutional recurrent neural networks are capable to learn language-specific patterns in mel spectrogram representations of speech recordings.
{"title":"A study on spoken language identification using deep neural networks","authors":"Alexandra Draghici, J. Abeßer, Hanna M. Lukashevich","doi":"10.1145/3411109.3411123","DOIUrl":"https://doi.org/10.1145/3411109.3411123","url":null,"abstract":"In this paper, we investigate a previously proposed algorithm for spoken language identification based on convolutional neural networks and convolutional recurrent neural networks. We improve the algorithm by modifying the training strategy to ensure equal class distribution and efficient memory usage. We successfully replicate previous experimental findings using a modified set of languages. Our findings confirm that both a convolutional neural network as well as convolutional recurrent neural networks are capable to learn language-specific patterns in mel spectrogram representations of speech recordings.","PeriodicalId":368424,"journal":{"name":"Proceedings of the 15th International Audio Mostly Conference","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131527990","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper describes two site-specific musical compositions, focusing on how modelling was used in their respective composition processes. Primarily, the acoustics of the sites were modelled to aid in the preparation and composition of the pieces. From this we propose the general use of modelling as a way to work with the concept of site. But the idea of formulating a model is also applicable more widely in the work described and this is discussed with the two pieces as starting points. Both pieces use acoustic room scale feedback as their only source of sound, so the impact of the room, speakers and microphones used is immense. The first piece, Rundgång, is a commission for the GRM Acousmonium. The second piece, Clockwork, is a public installation that will also be the site of a performance, combining the installation with live interventions. Clockwork will also employ modelling as a component of the piece itself, and include a remote performer and a remote audience. We suggest that there are possibilities to employ compositional strategies to embrace these kinds of hybrid presence situations by composing for many vantage points.
{"title":"Acoustic modelling as a strategy for composing site-specific music","authors":"Ludvig Elblaus, G. Eckel","doi":"10.1145/3411109.3411141","DOIUrl":"https://doi.org/10.1145/3411109.3411141","url":null,"abstract":"This paper describes two site-specific musical compositions, focusing on how modelling was used in their respective composition processes. Primarily, the acoustics of the sites were modelled to aid in the preparation and composition of the pieces. From this we propose the general use of modelling as a way to work with the concept of site. But the idea of formulating a model is also applicable more widely in the work described and this is discussed with the two pieces as starting points. Both pieces use acoustic room scale feedback as their only source of sound, so the impact of the room, speakers and microphones used is immense. The first piece, Rundgång, is a commission for the GRM Acousmonium. The second piece, Clockwork, is a public installation that will also be the site of a performance, combining the installation with live interventions. Clockwork will also employ modelling as a component of the piece itself, and include a remote performer and a remote audience. We suggest that there are possibilities to employ compositional strategies to embrace these kinds of hybrid presence situations by composing for many vantage points.","PeriodicalId":368424,"journal":{"name":"Proceedings of the 15th International Audio Mostly Conference","volume":"50 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127974856","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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