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AM Tables of Contents: 101112131415

Proceedings of the 2010 Audio Mostly Conference: A Conference on Interaction with Sound

Fullname:Proceedings of the 5th Audio Mostly Conference: A Conference on Interaction with Sound
Editors:Katarina Delsing; Mats Liljedahl
Location:Piteå, Sweden
Dates:2010-Sep-15 to 2010-Sep-17
Standard No:ISBN: 1-4503-0046-4, 978-1-4503-0046-9; ACM DL: Table of Contents hcibib: AM10
Links:Conference Website | Conference Series Home Page
A toolkit for explorations in sonic interaction design BIBAFull-Text 1
  Stefano Delle Monache; Pietro Polotti; Davide Rocchesso
Physics-based sound synthesis represents a promising paradigm for the design of a veridical and effective continuous feedback in augmented everyday contexts. In this paper, we introduce the Sound Design Toolkit (SDT), a software package available as a complete front-end application, providing a palette of virtual lutheries and foley pits, that can be exploited in sonic interaction design research and education. In particular, the package includes polyphonic features and connectivity to multiple external devices and sensors in order to facilitate the embedding of sonic attributes in interactive artifacts. The present release represents an initial version towards an effective and usable tool for sonic interaction designers.
Methods for sound design: a review and implications for research and practice BIBAFull-Text 2
  Mats Liljedahl; Johan Fagerlönn
Sound design can be described as an inherently complex task, demanding the designer to understand, master and balance technology, human perception, aesthetics and semiotics. Given this complexity, there are surprisingly few tools available that meet the needs of the general designer or developer incorporating sound as design material. To attend to this situation, two software systems are being developed. The purpose with these is to inform and support general design projects where sound is one part. The first system is intended to inform early stages of sound design projects. The second system is intended to simulate the sounding dimension of physical environments. Together these tools can be used to support designers and developers when searching for, testing and evaluating sounds suitable for interfaces, products and environments. To further complement these systems, a number of methods and guidelines are being developed in tandem. Tests to verify the systems have been conducted with very promising results.
Psychoacoustic evaluation as a tool for optimization in the development of an urban soundscape simulator BIBAFull-Text 3
  Peter Lundén; Marja Gustin; Mats E. Nilsson; Jens Forssén; Björn Hellström
This paper will discuss the use of psychoacoustic evaluation as a tool for optimization of the soundscape simulator developed in the Listen project. The listen project is a three-year research project focused around developing a demonstrator, which auralizes the sound environment produced by road and railway traffic. The resolution of the parameter space of the simulator heavily influences the performance of the simulator. The perceptual resolution of the parameter space is investigated and the resolution is adjusted accordingly. The most important parameter is velocity. Adjustments of the resolution of this parameter alone gives a 60% reduction of the usage of memory.
Binaural mixing using gestural control interaction BIBAFull-Text 4
  Nikolas Grigoriou; Andreas Floros; Konstantinos Drossos
In this work a novel audio binaural mixing platform is presented which employs advanced gestural-based interaction techniques for controlling the mixing parameters. State-of-the-art binaural technology algorithms are used for producing the final two-channel binaural signal. These algorithms are optimized for realtime operation, able to manipulate high-quality audio (typically 24bit / 96kHz) for an arbitrary number of fixed-position or moving sound sources in closed acoustic enclosures. Simple gestural rules are employed, which aim to provide the complete functionality required for the mixing process, using low cost equipment. It is shown that the proposed platform can be efficiently used for general audio mixing / mastering purposes, providing an attractive alternative to legacy hardware control designs and software-based mixing user interfaces.
Designing the emotional content of a robotic speech signal BIBAFull-Text 5
  Sandra Pauletto; Tristan Bowles
This project examines how the emotional content of a synthesised and robotic-sounding speech signal can be modified by manipulating high-level acoustic parameters using commonly available sound design digital tools. Stimuli were created on the basis of trends described by the literature and verified via our own analysis of emotional speech produced by actors. A listening test was run to verify whether the emotions expressed by the stimuli were discriminated by the listeners. Neutral and sad sentences were successfully identified. Happy sentences were identified with a lower degree of success, while angry sentences were, for the majority of cases, confused with happy. From the analysis of the test results and the stimuli we formulated hypotheses on why the identification of certain emotions was not successful and how this result could be improved in further work.
Re-texturing the sonic environment BIBAFull-Text 6
  Thomas Grill
This paper examines modeling the acoustic environment (i.e. soundscape) with respect to its textural qualities. This is explored in the context of an audiovisual installation which captures the external environment and re-synthesizes a corresponding, but nonetheless potentially differing immersive audiovisual environment from a given sound and image corpus in the exhibition space. In order to establish the association between sonic structures of the external and internal domains a perceptually grounded, compact and real-time capable method for modeling sound textures based on amplitude fluctuation patterns is devised and evaluated.
Performativity in design and evaluation of sounding interactive commodities BIBAFull-Text 7
  Daniel Hug
This paper discusses the relevance of performativity and the need for improvisational methods in sound design for interactive commodities. Both the impact on design methods and on the evaluation of experience prototypes are investigated. Several sound design techniques are proposed that help to exploit performativity and improvisation without compromising on sonic elaboration. In particular, a combination of Foley and realtime control of multisamples and sound processing was used. The analysis of several prototypes which were created in workshop settings, partially in collaboration with industry, provides further insights on the impact of performativity on sonic interaction design and evaluation.
Applying personal construct psychology in sound design using a repertory grid BIBAFull-Text 8
  Stuart Cunningham
This paper highlights the repertory grid technique as a mechanism for use in multimedia assessment and classification with a particular focus of its use with audio media and in sound design tasks. The paper describes the repertory grid method and provides an original, small scale, investigation as an example of the technique in action. The results show that repertory grid can indeed be employed with multimedia elements, something that is currently not common practice in the field, and that there is value in being able to classify media elements by extracting group norms and semantic descriptions.
The sound machine: a study in storytelling through sound design BIBAFull-Text 9
  Mariana J. Lopez; Sandra Pauletto
The term audio film refers to a novel format of sonic art that explores the possibilities of telling a story solely through sound, sound processing and spatialisation, without the need for visual elements or a narrator. The term audio film was coined by the authors as part of the research project entitled 'The Design of an Audio Film for the Visually Impaired'.
   The term was chosen for two main reasons: firstly, because the final work is to be experienced in a cinema environment, and secondly, because certain elements of the filmmaking process might be adapted for the conveyance of a story through sound, creating an experience equivalent to the cinematic experience.
   The present paper explores the possibility of minimising or eliminating speech in audio films. In particular it focuses on the comparison of two versions of an extract from The Sound Machine by Roald Dahl (1949). The first version portrays the story through the use of sound effects, internal sounds and music, while the second, is identical to the first but with the addition of speech.
A preliminary experiment to assess the fear value of preselected sound parameters in a survival horror game BIBAFull-Text 10
  Tom Garner; Mark Grimshaw; Debbie Abdel Nabi
This paper presents an experiment testing which sound parameters, in a survival horror game context, most warrant further investigation as a means to control the level of fear in such games. The experiment is part of a long-term study ultimately designed to support the development of a biofeedback procedural audio engine for computer games. By this means, it is hoped to provide an enhanced gaming experience whereby sound synthesis and audio processing is conducted in real-time according to the player's affect responses and emotional state. Results indicate that coarse manipulation of audio parameters has the potential to influence the intensity of the player's fear response whilst playing a survival horror game. Evidence is also presented that supports the integration of event logging and realtime participant vocal response into an experimental design to gather unbiased, quantitative data that can be associated with qualitative emotional response.
iSpooks: an audio focused game design BIBAFull-Text 11
  Nigel Papworth
This paper is an attempt to analyse and explain the 'design decision making' behind iSpooks, an audio based adventure game for the iPhone. The game utilizes audio as its principle mechanism for driving the gameplay. The design and production team therefore had to reconsider the ways in which a mobile phone game is developed and how it works. This resulted in some innovative and previously untried techniques in the design process and technical solutions developed for the project. As such, this paper reviews existing knowledge in game design for sound based games, and describes the background and development process of the iSpooks game. In doing so, this paper describes game aspects such as, sound design, designing for the casual gamer, finding appropriate narrative forms and creating non-visual immersion.
A pattern language for sound design in games BIBAFull-Text 12
  Valter Alves; Licinio Roque
Expertise in sound design for games is still a privilege of senior designers. The broad community of independent game developers remains mostly challenged by small budgets and lack of know-how, while trying to integrate sound in their games.
   The empowerment of a broad community of developers, by making practical guidance available, could improve the quality of their productions and unleash a massive creative potential, with results in the form of innovative sound design ideas and further development of the body of knowledge.
   Here we present the argument that there are favorable conditions for a collective authoring of a pattern language in sound design, to be achieved with the inventory, translation or resynthesis of current practice and academic know-how, in a format that is addressable by experts and non-experts alike.
   Learning from the effects such a methodology had in other domains where similar concerns were observed, we present a seminal pattern collection with the purpose of illustrating its feasibility and spark the interest of the broad community of sound design.
Limitations of interactive music recommendation based on audio content BIBAFull-Text 13
  Arthur Flexer; Martin Gasser; Dominik Schnitzer
We present a study on the limitations of an interactive music recommendation service based on automatic computation of audio similarity. Songs which are, according to the audio similarity function, similar to very many other songs and hence appear unwantedly often in recommendation lists keep a significant proportion of the audio collection from being recommended at all. This problem is studied in-depth with a series of computer experiments including analysis of alternative audio similarity functions and comparison with actual download data.
The Musical Avatar: a visualization of musical preferences by means of audio content description BIBAFull-Text 14
  Martín Haro; Anna Xambó; Ferdinand Fuhrmann; Dmitry Bogdanov; Emilia Gómez; Perfecto Herrera
The music we like (i.e. our musical preferences) encodes and communicates key information about ourselves. Depicting such preferences in a condensed and easily understandable way is very appealing, especially considering the current trends in social network communication. In this paper we propose a method to automatically generate, given a provided set of preferred music tracks, an iconic representation of a user's musical preferences -- the Musical Avatar. Starting from the raw audio signal we first compute over 60 low-level audio features. Then, by applying pattern recognition methods, we infer a set of semantic descriptors for each track in the collection. Next, we summarize these track-level semantic descriptors, obtaining a user profile. Finally, we map this collection-wise description to the visual domain by creating a humanoid cartoony character that represents the user's musical preferences. We performed a proof-of-concept evaluation of the proposed method on 11 subjects with promising results. The analysis of the users' evaluations shows a clear preference for avatars generated by the proposed semantic descriptors over avatars derived from neutral or randomly generated values. We also found a general agreement on the representativeness of the users' musical preferences via the proposed visualization strategy.
A novel tool for capturing conceptualized audio annotations BIBAFull-Text 15
  Peter Woitek; Paul Bräuer; Holger Grossmann
For each supervised classification task some sort of ground truth data is needed in order to train the data models or classifiers and to evaluate the obtained result. Although there are a number of such data sets publicly available for mainstream audio and music classification tasks, most often one will end up annotating new content by oneself when a novel or a specialized classifier needs to be developed. Though often necessary, the gathering of manually annotated metadata is a time-consuming and expensive exercise. Moreover, such metadata need to be structured in a proper way and assigned to the respective audio excerpts in order to be able to automatically process them. In this paper we present a novel software tool that facilitates the gathering of conceptualized annotations for any kind of audio content. The tool can be configured using arbitrary annotation schemas, which makes it flexible for multiple application fields. It furthermore provides automated audio segmentation which helps to intuitively navigate through different parts of the audio file during the annotation process and select the right segment. The tool was originally developed to assist musicologists in collecting detailed metadata for global music contents, but it turned out to be more widely applicable, e.g. for annotating audiobooks or podcasts.
Automatic genre classification of Latin American music using characteristic rhythmic patterns BIBAFull-Text 16
  Thomas Völkel; Jakob Abeßer; Christian Dittmar; Holger Großmann
In the majority of musical genres, music is basically composed of repetitive rhythmic structures (patterns). Especially in Latin American music, particular styles can be distinguished through characteristics of these patterns. Therefore, the aim of the present work is the automatic classification of musical genres from Latin America using automatically extracted rhythmic patterns. The approach is based on setting up a knowledge base that consists of typical reference patterns for each genre. To obtain a tempo independent pattern representation, we apply both the scale transform and the log-lag autocorrelation function. Different distance measures were evaluated to measure the similarity between unknown patterns and reference patterns. Various tests with different preprocessing techniques were performed. For 9 distinct genres, a classification accuracy of 86.7% for tests with synthetic data and 47.9% with real-world music was achieved. In addition, conclusions to rhythmic similarity of particular music styles were drawn. Dealing with non-western music, the work presents an operational method for genre classification in the research field of Computational Ethnomusicology.
Graph grammar representation for collaborative sample-based music creation BIBAFull-Text 17
  Gerard Roma; Perfecto Herrera
This paper proposes a music representation for collaborative music creation using shared repositories of audio samples. We explore the use of the graph grammar formalism to organize collective work on musical compositions stored as graphs of samples, and describe an experimental prototype that implements this concept. We then use the compositions created by different users with the prototype to show how this representation allows tracking and analyzing the music creation process. Potential applications of this include finding similarities between artists or suggesting sounds for a given compositional context.
Modelling musical dynamics BIBAFull-Text 18
  Axel Berndt; Tilo Hähnel
This paper deals with dynamics, i.e. loudness, in music. We developed models to describe and recreate dynamics properties of human musicians' expressive performances within a performance system. Their diversity and variability bears a particular challenge to the flexibility of such models. Therefore, our approach is based on a multi-layered discrimination of different dynamics aspects. Each of which includes certain degrees of freedom to flexibly define different shapings. For evaluation we compare these models with human performed dynamics.
A mobile music concept as support for achieving target heart rate in preventive and recreational endurance training BIBAFull-Text 19
  Julian Rubisch; Matthias Husinsky; Jakob Doppler; Hannes Raffaseder; Brian Horsak; Beate Ambichl; Astrid Figl
A concept of a mobile phone based system which takes advantage of the influence of listened music during endurance training on running pace, will be presented in this paper. The main goal of the system relies in the support of athletes to achieve their correct target heart rate (THR) during endurance training in the field of recreational and preventive sports. Therefore, a mobile receiver will be developed which should be capable of collecting heart rate data from a standard Polar heart rate chest belt and transmit data via a Bluetooth connection to any mobile device. A feedback algorithm will be developed which will continuously monitor the athlete's heart rate and compare it to the individual THR predicted by a prediction equation. If the athlete's THR is too low or too high, the algorithm will provide music files featuring that amount of beats per minute (BPM), which will help the user to speed up, slow down or keep the pace to be on track with the predicted THR.
Simulation of rhythmic learning: a case study BIBAFull-Text 20
  Antti Jylhä; Cumhur Erkut; Matti Pesonen; Inger Ekman
Simulation of human interaction with computational systems can inform their design and provide means for designing new, intelligent systems capturing some of the essence of human behavior. We describe a system simulating a situation, where a virtual tutor is teaching rhythms to a human learner. In this simulation, we virtualize the human behavior related to the learning of new rhythms. We inform the design of the system based on an experiment, in which a virtual tutor taught Flamenco hand clapping patterns to human subjects. Based on the findings on interaction with the system and learning of the patterns, we are simulating this learning situation with a virtual learning clapper. We also discuss the future work to be undertaken for more realistic, agent-based simulation of rhythmic interaction.
Towards user-friendly audio creation BIBAFull-Text 21
  Cécile Picard; Christian Frisson; Jean Vanderdonckt; Damien Tardieu; Thierry Dutoit
This paper presents a new approach to sound composition for soundtrack composers and sound designers. We propose a tool for usable sound manipulation and composition that targets sound variety and expressive rendering of the composition. We first automatically segment audio recordings into atomic grains which are displayed on our navigation tool according to signal properties. To perform the synthesis, the user selects one recording as model for rhythmic pattern and timbre evolution, and a set of audio grains. Our synthesis system then processes the chosen sound material to create new sound sequences based on onset detection on the recording model and similarity measurements between the model and the selected grains. With our method, we can create a large variety of sound events such as those encountered in virtual environments or other training simulations, but also sound sequences that can be integrated in a music composition. We present a usability-minded interface that allows to manipulate and tune sound sequences in an appropriate way for sound design.
Camel: a lightweight framework for content-based audio and music analysis BIBAFull-Text 22
  Chris Sanden; Chad R. Befus; John Z. Zhang
In this paper, we present a brief overview of the design decisions and characteristics of CAMEL (Content-based Audio and Music Extraction Library), an easy-to-use C++ framework developed for content-based audio and music analysis. The framework provides a set of tools that are suitable for a wide range of analysis tasks. At the heart of the framework is a library of feature extraction and segmentation algorithms, which can be exploited for the rapid development and experimentation of content-based audio analysis algorithms and systems. The framework has been successfully applied to various research projects in Music Information Retrieval (MIR).