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| 2. |
- Pauletto, Sandra, Associate Professor, et al.
(author)
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Connecting sound design future with historical creative practices : developing digital tools by modelling historical sound effects
- 2023
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In: Proceedings Forum Acusticum 2023 - 10th Convention of the European Acoustics Association, EAA 2023. - : European Acoustics Association, EAA.
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Conference paper (peer-reviewed)abstract
- This paper describes the development of three digital sound prototypes based on three sounding objects selected from those in use at the Swedish Radio Sound Studio. Knowledge about historical and current creative practice was gathered through an in-depth interview with the Swedish Radio sound engineer and sound maker Michael Johansson and the observation of his Foley practice. A design workshop was carried out with music composers and interaction designers to ideate how these historical sound design concepts could be developed in the digital domain. On the basis of the workshop results, we built three prototypes that were exhibited at Tekniska Museet in Stockholm where we gathered feedback from 126 people. Finally, we discuss what we have learnt from utilising an approach rooted in historical creative practice, emphasizing benefits for contemporary digital sound design.
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| 3. |
- Pauletto, Sandra, Associate Professor, et al.
(author)
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From Foley professional practice to Sonic Interaction Design: initial research conducted within the Radio Sound Studio Project.
- 2021
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Conference paper (peer-reviewed)abstract
- This paper describes initial research conducted in The Radio Sound Studio Project. The aim of the project is to develop novel sound design tools by digitally model historical sound effects, found in the radio drama studio, utilising methods from sound computing, ethnography, and design. These novel sound tools will address both artistic sound practices as well as more utilitarian sonic interaction designs for new objects. The project also provides a tangible approach to connecting new sound design developments with historical literature and practice, and create new opportunities for radio, TV and Foley studios. This paper focuses on the process of selection of the sounding objects to be modelled, which was based on an in-depth interview with Sveriges Radio’s sound engineer and sound maker Michael Johansson as well as observations of his Foley practice. It also describes the initial modelling of one of these objects, and plans for future work.
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| 4. |
- Reiss, J. D., et al.
(author)
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A comparative perceptual evaluation of thunder synthesis techniques
- 2021
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In: 150th Audio Engineering Society Convention, AES 2021. - : Audio Engineering Society.
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Conference paper (peer-reviewed)abstract
- The sound of thunder is widely used in game, film and virtual reality sound design. It is also a phenomenon for which we seek a better understanding of the physics underlying the sound. Though many models of thunder have been proposed, there has not yet been a formal perceptual evaluation of the models to assess their realism and sound quality. Here, we present and evaluate the implementation of several thunder sound effect synthesis models. The models include different physical modeling and signal-based approaches, as well as a recorded sample. Evaluation was with over 50 participants. The results showed that none of the models were close to the recording in terms of realism, though signal-based models slightly outperformed the physical models. This highlights the need for comparative perceptual evaluation in sound synthesis, and identifies the limitations of current thunder simulation approaches.
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| 5. |
- Selfridge, Rod, et al.
(author)
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Investigating the Sound Design Process
- 2021
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Conference paper (peer-reviewed)abstract
- This paper evaluates a novel method to elicit information about sound creative processes. This method forms part of a broader project, researching the transferring of knowledge borne from creative traditions and practices found in sound design for media production, to sonic interaction design (SID). We present the results of a pilot with two professional sound designers, one from a background in sound design for game production, and another with a background in sonic art and game development. We briefly describe the overall study procedure before focusing on a specific aspect of it, i.e. the novel method we have devised consisting of three design briefs to be tackled by sound designers. A thematic analysis of both sound designers is undertaken, where we identify eight main themes and three sub-themes. We then compare and contrast how each designer tackles the briefs to achieve their desired outcome. Finally, we evaluate the effectiveness of the method employed.
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| 7. |
- Selfridge, Rod, et al.
(author)
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Sonifying an Office Gadget to Indicate Air Quality
- 2022
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In: Proceedings of the 19th Sound and Music Computing Conference, June 5-12th, 2022, Saint-Étienne (France). - : Sound and Music Computing Network. ; , s. 54-61
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Conference paper (peer-reviewed)abstract
- Poor indoor air quality can produce headaches, fatigue, as well as respiratory and vision issues. Sonification might provide a way to increase people’s awareness of their surrounding’s air quality and activate preventive actions. In this paper we present the prototype of a sonically augmented interactive office gadget that provides information about air quality when a person interacts with it. We report the results of a user study comparing four sonification models (Abstract, Musical, Concrete and Cultural Models). Results show that the Abstract, Musical and Concrete models are equally effective in displaying air quality levels, while the Cultural model performs less well. Additionally, the Concrete and Musical models are preferred over the Abstract and Cultural models as their sonic qualities are considered more appropriate for what they aim to represent. As a result of this study, we aim to further develop the Musical and Concrete models as well as a Hybrid Model that combines the main characteristics of both.
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| 8. |
- Selfridge, Rod, et al.
(author)
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Sound Design Ideation : Comparing Four Sound Designers' Approaches
- 2022
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In: Proceedings of the Sound and Music Computing Conferences. - : Sound and Music Computing Network. ; , s. 92-99
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Conference paper (peer-reviewed)abstract
- The craft of sonic interaction design (SID) for new digital objects is a non-trivial task. A deeper understanding of sound design practices employed by professional sound designers and Foley artists offers a rich source of knowledge which may inform future designs. Our research utilises a novel set of design briefs to examine and compare initial sound design ideas produced by four sound designers. Two participants are professional sound designers, while the other two are former professional sound designers who recently moved into academia. Results show a number commonality in ideas produced as well as uniqueness in approach and personal influences when completing the briefs.
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| 9. |
- Selfridge, Rod, et al.
(author)
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Twang! : A physically derived synthesis model for the sound of a vibrating bar
- 2022
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In: AES Europe Spring 2022. - : Audio Engineering Society. ; , s. 76-85
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Conference paper (peer-reviewed)abstract
- A physically derived synthesis model of the sound generated when a ruler is twanged while hanging over the edge of a solid surface is presented. This is a sound effect used in movies, TV, theatre performances and cartoons. The model is derived from the Euler-Bernoulli equation, offering the user a set of physical parameters to control ruler length as well as the material properties. Perceptual evaluation indicates that the model can be perceived as realistic as a recorded ruler twang as well as being able to replicate sounds of similar quality as an alternative synthesis model.
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| 10. |
- Tez, Hazar Emre, et al.
(author)
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Ocean Wave Sound Synthesis and Perceptual Evaluation
- 2022
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In: AES Europe Spring 2022. - : Audio Engineering Society. ; , s. 185-191
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Conference paper (peer-reviewed)abstract
- We present and evaluate the implementation of a real-time, procedural ocean wave sound effect synthesis model that works in a web environment. This model uses filtering of noise rather than a physical model of ocean waves. The ocean waves sound synthesis model was implemented using the Web Audio API. A modular approach was adopted to achieve versatility and to expand the model to more complex techniques if needed. In the listening test, real world ocean wave sounds were compared against our sound model as well as ocean wave sounds created by other few synthesis techniques. The results indicate that the current implementation can successfully represent real ocean waves and the procedural model can outperform the other proposed approaches in terms of believability of the generated sound.
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