Adaptive Music and Interactive Audio
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際際滷s from my course Adaptive Music and Interactive Audio, NCGD009, at Charles University, Prague. This is the introduction talk.
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Adaptive Music and Interactive Audio
- 1. Adam Sporka Charles University Tuesdays 10.40, Room SW1, Malostransk辿 n叩mst鱈 NCGD009 19/20 Adaptive Music and Interactive Audio
- 2. Adaptive Music Techniques, design, production, implementation Generative Audio Aleatoric systems, generative music, genetic algorithms, AI Course Overview Sound Effects Design, production, implementation Audio Implementation Low-level programming FMOD, Wwise; Unity, Unreal integration
- 3. Using Audio as an Interactive Medium
- 4. What Is Sound to People? Physics Sound 鍖eld Signal Content of signal Music / audio design Tone, noise Sample, loop Subjective property of a device The headphones have a nice sound
- 5. Were Mostly Visual Creatures Audio is taught to carry only a complementary information Easy to communicate using sound Difficult to talk about sound sight hearing the rest
- 6. Levels of Description of Sound Physics Design
- 7. Common Applications of Sound Obvious: Film, video games Acoustic noti鍖cation of background processes Less obvious: Subjective reduction of noise level
- 8. Sound in User Interfaces Interaction modality (input and output) Alerts Widget sounds Presentation of data Mood setters Sound branding
- 9. Sound in Video Games Complement of visual information Bears other forms of information Foreground Voices Sounds of objects being manipulated Background Environment Mood Music
- 10. Sound Design Exercises Bomb explosion Explosion in outer space Two swords colliding Lightsaber combat Blade of sword, illuminated by sunrise Whisper in the crowd Cave Light Semantics more important than correct physics?
- 11. Sound Effects
- 12. Behavior of Audio Sources tuner hit one-shot always the same only heard from up close signal generator sustained randomized helicopter sustained maneuver-sensitive Doppler effect likely explosion one-shot randomized may disrupt other sounds running animal periodic randomized depends on the ground surface
- 13. Audio Localization ITD: Inter-aural Time Difference IID: Inter-aural Intensity Difference HRTF: Head-related Transfer Function
- 15. Diegetic Sounds Belonging to the world Explainable by processes in the world Intrinsic acoustic properties of objects Collisions of objects Examples: Footsteps of a person we see Sword drawn Dialog of people
- 16. Diegetic Ambiences Without any events happening, what would you hear?
- 17. Non-diegetic Sounds Cannot be explained by the processes in the world Examples: Narrators voice-overs Abstract sound effects Music (if not from a visible source)
- 18. User Interface Sounds De鍖nitely not anyhow a part of the world Examples: Buttons pressed Choices activated Alerts Widgets
- 19. Sound Effects by Duration One-shots Short (or 鍖nite) Distinct instances Played once or periodically Impacts, footsteps, Sustained sounds Loops Keep playing until switched off Engines, wind
- 20. One-shots: Vertical footsteps, shots, one-off activities Sustains: Horizontal situations, states, stable running machines Audio Mix
- 21. Multiple One-shot Samples Multiple sounds playing at the same time People are not good at: Attributing each sound to its object What to do: Only the most important visual elements have their one-shot sounds The rest is simulated as a 2-long loop Make sure you have perfect loops
- 22. Multiple One-shot Samples People are good at: Detecting loops, cycles Telling that two sounds are identical What to do: For real environment recordings: Remove easily memorable sounds For synthesis: Randomize the sounds inside the loops
- 23. Multiple One-shot Samples Very important: Sounds triggered synchronously to frames 100s of reasons to play a sound per second real danger of ending up with a 30/60Hz hum
- 24. Unexpected Realism No sound in space Cant whisper in a crowd Plate armor does not sound hollow Camera is not the same thing as the microphone