![]() ![]() ![]() The system presents a tangible way to evaluate interactive realism of dynamic. The display motion is mapped into the virtual scene to create a compelling interaction metaphor of objects inside a box. Cubee is an interactive cubic fish tank VR display that is suspended to enable viewing from all sides and free manipulation. ![]() Finally, new control strategies based on a global manipulation of timbre and spatial attributes of sound sources are introduced.įigure 1: The interactive Cubee display showing bouncing balls. The subjective results, evaluated with a formal listening test, are discussed. An original approach exploiting the synthesis capabilities for simulating the spatial extension of sound sources is also presented. The synthesis engine has a novel architecture combining an additive synthesis model and 3-D audio modules at the prime level of sound generation. The system is based on a physical categorization of environmental sounds (vibrating solids, liquids, aerodynamics). In this paper, we present the design of a 3-D immersive synthesizer dedicated to environmental sounds, and intended to be used in the framework of interactive virtual reality applications. In typical systems, audio generation is created in two stages: first, a monophonic sound is synthesized (generation of the intrinsic timbre properties) and then it is spatialized (positioned in its environment). Nowadays, interactive 3-D environments tend to include both synthesis and spatialization processes to increase the realism of virtual scenes. The fourth contribution is a perceptual evaluation of the technique for a large 20-loudspeaker array and a comparison to the Hamasaki Square for a 5.1 loudspeaker array. The results of both of these experiments are considered in the third contribution, which is a physically-inspired strategy to generate a large number of channels of diffuse reverberation from a single B-Format Room Impulse Responses (RIR). The second is a perceptual threshold experiment demonstrating that the human auditory system is sensitive to directional differences in the reverberant diffuse field and that such differences can be found in practice. This technique has physical interpretation as a sparse sampling of a bounding surface and, as opposed to direct sound techniques, is intended for the reverberant diffuse field. The first is a perceptual evaluation of a room microphone technique known as the Hamasaki Square that is well accepted in the sound recording community. Intermediate to these approaches is a physically and perceptually plausible virtual acoustic model that can be manipulated for the manifold objectives of artists, researchers, and engineers.įour contributions are made. A purely artistic reproduction may manipulate many aspects of the physical sound field to create compelling musical presentation for existing distribution formats such as 2-channel stereo. A purely physical reproduction of a sound field might attempt to replicate identical pressure fields for as large an area as possible. This dissertation addresses methods of recording and reproducing the reverberant diffuse field for musical performances it is equally applicable to virtual reality, gaming and telecommunications. The loudspeaker array creates a high-spatial density soundfield within which users are able to freely explore due to the virtual elimination of a so-called “sweet-spot.” ![]() With the ability to target individual channels in the array, audio-visual congruency is achieved. Content creation for the space is not a complex process - the entire display is essentially a single desktop and straight-forward tools such as the Virtual Microphone Control allow for dynamic real-time spatialization. The space allows for dynamic switching between immersions in recreations of physical scenes and presentations of abstract or symbolic data. The lab provides an equal emphasis on the visual and audio system, with a nearly 360 degree panoramic display and 128-loudspeaker array housed behind the acoustically-transparent screen. Projects at Rensselaer's Collaborative-Research Augmented Immersive Virtual Environment Laboratory allow even large groups of collaborators to work within a shared virtual environment system. Oftentimes, spatialized data sets are meant to be experienced by a single or few users at a time. The use of spatialization techniques in data sonification provides system designers with an additional tool for conveying information to users. ![]()
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