Backward Compatible Spatialized Teleconferencing based on Squeezed Recordings

Commercial teleconferencing systems currently available, although offering sophisticated video stimulus of the remote participants, commonly employ only mono or stereo audio playback for the user. However, in teleconferencing applications where there are multiple participants at multiple sites, spatializing the audio reproduced at each site (using headphones or loudspeakers) to assist listeners to distinguish between participating speakers can significantly improve the meeting experience (Baldis, 2001; Evans et al., 2000; Ward & Elko 1999; Kilgore et al., 2003; Wrigley et al., 2009; James & Hawksford, 2008). An example is Vocal Village (Kilgore et al., 2003), which uses online avatars to co-locate remote participants over the Internet in virtual space with audio spatialized over headphones (Kilgore, et al., 2003). This system adds speaker location cues to monaural speech to create a user manipulable soundfield that matches the avatar’s position in the virtual space. Giving participants the freedom to manipulate the acoustic location of other participants in the rendered sound scene that they experience has been shown to provide for improved multitasking performance (Wrigley et al., 2009). A system for multiparty teleconferencing requires firstly a stage for recording speech from multiple participants at each site. These signals then need to be compressed to allow for efficient transmission of the spatial speech. One approach is to utilise close-talking microphones to record each participant (e.g. lapel microphones), and then encode each speech signal separately prior to transmission (James & Hawksford, 2008). Alternatively, for increased flexibility, a microphone array located at a central point on, say, a meeting table can be used to generate a multichannel recording of the meeting speech A microphone array approach is adopted in this work and allows for processing of the recordings to identify relative spatial locations of the sources as well as multichannel speech enhancement techniques to improve the quality of recordings in noisy environments. For efficient transmission of the recorded signals, the approach also requires a multichannel compression technique suitable to spatially recorded speech signals

Studying the perception of sound in space : granular sounds spatialized in a high-order ambisonics system

Space is an important aspect of music composition that received little emphasis in certain periods of the history of Western music. However, in the twentieth century, electroacoustic music reintroduced this element by utilizing the different spatialization methods available. In this article, we discuss the methodology of analysis and the results of a study of the perception of sound in space involving sounds generated by granular synthesis that were spatialized in a high-order ambisonics system performed at CIRRMT’s Immersive Presence Laboratory at McGill University. We investigated two hypotheses of sound perception in space: 1) the variation of the granular synthesis parameters produces differences in the morphology of sounds perceived in their time-varying spatial distribution; and 2) the presence of more morphological sound variations when higher orders of ambisonics are employed, in addition to the generation of sound fields with more depth. In order to verify these hypotheses, we employed a method of analysis based on graphical representations of data derived from audio descriptors, such as graphical curves, a graphic representation of volume and phase space graphics. As a result, we observed that when higher orders of ambisonics are employed, the listener perceives more variations in frequency and intensity in sound spatialization, in addition to a preponderance of the decorrelation effect. Such effect is related to the presence of more diffuse sound fields262CONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICO - CNPQFUNDAÇÃO DE AMPARO À PESQUISA DO ESTADO DE SÃO PAULO - FAPESP304431/2018-4; 429620/2018-72016/23433-

When the Elephant Trumps": A Comparative Study on Spatial Audio for Orientation in 360◦ Videos

Orientation is an emerging issue in cinematic Virtual Reality (VR), as viewers may fail in locating points of interest. Recent strategies to tackle this research problem have investigated the role of cues, specifically diegetic sound effects. In this paper, we examine the use of sound spatialization for orien tation purposes, namely by studying different spatialization conditions ("none", "partial", and "full" spatial manipulation) of multitrack soundtracks. We performed a between-subject mixed-methods study with 36 participants, aided by Cue Control, a tool we developed for dynamic spatial sound edit ing and data collection/analysis. Based on existing literature on orientation cues in 360◦ and theories on human listening, we discuss situations in which the spatialization was more ef fective (namely, "full" spatial manipulation both when using only music and when combining music and diegetic effects), and how this can be used by creators of 360◦ videos.info:eu-repo/semantics/publishedVersio

The Integration Of Audio Into Multimodal Interfaces: Guidelines And Applications Of Integrating Speech, Earcons, Auditory Icons, and Spatial Audio (SEAS)

The current research is directed at providing validated guidelines to direct the integration of audio into human-system interfaces. This work first discusses the utility of integrating audio to support multimodal human-information processing. Next, an auditory interactive computing paradigm utilizing Speech, Earcons, Auditory icons, and Spatial audio (SEAS) cues is proposed and guidelines for the integration of SEAS cues into multimodal systems are presented. Finally, the results of two studies are presented that evaluate the utility of using SEAS cues, developed following the proposed guidelines, in relieving perceptual and attention processing bottlenecks when conducting Unmanned Air Vehicle (UAV) control tasks. The results demonstrate that SEAS cues significantly enhance human performance on UAV control tasks, particularly response accuracy and reaction time on a secondary monitoring task. The results suggest that SEAS cues may be effective in overcoming perceptual and attentional bottlenecks, with the advantages being most revealing during high workload conditions. The theories and principles provided in this paper should be of interest to audio system designers and anyone involved in the design of multimodal human-computer systems

An audio architecture integrating sound and live voice for virtual environments

The purpose behind this thesis was to design and implement audio system architecture, both in hardware and in software, for use in virtual environments. The hardware and software design requirements were to provide the ability to add sounds, environmental effects such as reverberation and occlusion, and live streaming voice to any virtual environment employing this architecture. Several free or open-source sound APIs were evaluated, and DirectSound3D was selected as the core component of the audio architecture. Creative Labs Environmental Audio Extensions (EAX) was integrated into the architecture to provide environmental effects such as reverberation, occlusion, obstruction, and exclusion. Voice over IP (VoIP) technology was evaluated to provide live, streaming voice to any virtual environment. DirectVoice was selected as the voice component of the architecture due to its integration with DirectSound3D . However, extremely high latency considerations with DirectVoice, and any other VoIP application or software, required further research into alternative live voice architectures for inclusion in virtual environments. Ausim3D's GoldServe Audio Localizing Audio Server System was evaluated and integrated into the hardware component of the audio architecture to provide an extremely low-latency, live, streaming voice capability.http://archive.org/details/anudiorchitectur109454977Commander, United States Naval ReserveApproved for public release; distribution is unlimited

Leveraging eXtented Reality & Human-Computer Interaction for User Experi- ence in 360◦ Video

EXtended Reality systems have resurged as a medium for work and entertainment. While 360o video has been characterized as less immersive than computer-generated VR, its realism, ease of use and affordability mean it is in widespread commercial use. Based on the prevalence and potential of the 360o video format, this research is focused on improving and augmenting the user experience of watching 360o video. By leveraging knowledge from Extented Reality (XR) systems and Human-Computer Interaction (HCI), this research addresses two issues affecting user experience in 360o video: Attention Guidance and Visually Induced Motion Sickness (VIMS). This research work relies on the construction of multiple artifacts to answer the de- fined research questions: (1) IVRUX, a tool for analysis of immersive VR narrative expe- riences; (2) Cue Control, a tool for creation of spatial audio soundtracks for 360o video, as well as enabling the collection and analysis of captured metrics emerging from the user experience; and (3) VIMS mitigation pipeline, a linear sequence of modules (including optical flow and visual SLAM among others) that control parameters for visual modi- fications such as a restricted Field of View (FoV). These artifacts are accompanied by evaluation studies targeting the defined research questions. Through Cue Control, this research shows that non-diegetic music can be spatialized to act as orientation for users. A partial spatialization of music was deemed ineffective when used for orientation. Addi- tionally, our results also demonstrate that diegetic sounds are used for notification rather than orientation. Through VIMS mitigation pipeline, this research shows that dynamic restricted FoV is statistically significant in mitigating VIMS, while mantaining desired levels of Presence. Both Cue Control and the VIMS mitigation pipeline emerged from a Research through Design (RtD) approach, where the IVRUX artifact is the product of de- sign knowledge and gave direction to research. The research presented in this thesis is of interest to practitioners and researchers working on 360o video and helps delineate future directions in making 360o video a rich design space for interaction and narrative.Sistemas de Realidade EXtendida ressurgiram como um meio de comunicação para o tra- balho e entretenimento. Enquanto que o vídeo 360o tem sido caracterizado como sendo menos imersivo que a Realidade Virtual gerada por computador, o seu realismo, facili- dade de uso e acessibilidade significa que tem uso comercial generalizado. Baseado na prevalência e potencial do formato de vídeo 360o, esta pesquisa está focada em melhorar e aumentar a experiência de utilizador ao ver vídeos 360o. Impulsionado por conhecimento de sistemas de Realidade eXtendida (XR) e Interacção Humano-Computador (HCI), esta pesquisa aborda dois problemas que afetam a experiência de utilizador em vídeo 360o: Orientação de Atenção e Enjoo de Movimento Induzido Visualmente (VIMS). Este trabalho de pesquisa é apoiado na construção de múltiplos artefactos para res- ponder as perguntas de pesquisa definidas: (1) IVRUX, uma ferramenta para análise de experiências narrativas imersivas em VR; (2) Cue Control, uma ferramenta para a criação de bandas sonoras de áudio espacial, enquanto permite a recolha e análise de métricas capturadas emergentes da experiencia de utilizador; e (3) canal para a mitigação de VIMS, uma sequência linear de módulos (incluindo fluxo ótico e SLAM visual entre outros) que controla parâmetros para modificações visuais como o campo de visão restringido. Estes artefactos estão acompanhados por estudos de avaliação direcionados para às perguntas de pesquisa definidas. Através do Cue Control, esta pesquisa mostra que música não- diegética pode ser espacializada para servir como orientação para os utilizadores. Uma espacialização parcial da música foi considerada ineficaz quando usada para a orientação. Adicionalmente, os nossos resultados demonstram que sons diegéticos são usados para notificação em vez de orientação. Através do canal para a mitigação de VIMS, esta pesquisa mostra que o campo de visão restrito e dinâmico é estatisticamente significante ao mitigar VIMS, enquanto mantem níveis desejados de Presença. Ambos Cue Control e o canal para a mitigação de VIMS emergiram de uma abordagem de Pesquisa através do Design (RtD), onde o artefacto IVRUX é o produto de conhecimento de design e deu direcção à pesquisa. A pesquisa apresentada nesta tese é de interesse para profissionais e investigadores tra- balhando em vídeo 360o e ajuda a delinear futuras direções em tornar o vídeo 360o um espaço de design rico para a interação e narrativa

Spatial Sound Rendering – A Survey

Simulating propagation of sound and audio rendering can improve the sense of realism and the immersion both in complex acoustic environments and dynamic virtual scenes. In studies of sound auralization, the focus has always been on room acoustics modeling, but most of the same methods are also applicable in the construction of virtual environments such as those developed to facilitate computer gaming, cognitive research, and simulated training scenarios. This paper is a review of state-of-the-art techniques that are based on acoustic principles that apply not only to real rooms but also in 3D virtual environments. The paper also highlights the need to expand the field of immersive sound in a web based browsing environment, because, despite the interest and many benefits, few developments seem to have taken place within this context. Moreover, the paper includes a list of the most effective algorithms used for modelling spatial sound propagation and reports their advantages and disadvantages. Finally, the paper emphasizes in the evaluation of these proposed works

Assessment of Audio Interfaces for use in Smartphone Based Spatial Learning Systems for the Blind

Recent advancements in the field of indoor positioning and mobile computing promise development of smart phone based indoor navigation systems. Currently, the preliminary implementations of such systems only use visual interfaces—meaning that they are inaccessible to blind and low vision users. According to the World Health Organization, about 39 million people in the world are blind. This necessitates the need for development and evaluation of non-visual interfaces for indoor navigation systems that support safe and efficient spatial learning and navigation behavior. This thesis research has empirically evaluated several different approaches through which spatial information about the environment can be conveyed through audio. In the first experiment, blindfolded participants standing at an origin in a lab learned the distance and azimuth of target objects that were specified by four audio modes. The first three modes were perceptual interfaces and did not require cognitive mediation on the part of the user. The fourth mode was a non-perceptual mode where object descriptions were given via spatial language using clockface angles. After learning the targets through the four modes, the participants spatially updated the position of the targets and localized them by walking to each of them from two indirect waypoints. The results also indicate hand motion triggered mode to be better than the head motion triggered mode and comparable to auditory snapshot. In the second experiment, blindfolded participants learned target object arrays with two spatial audio modes and a visual mode. In the first mode, head tracking was enabled, whereas in the second mode hand tracking was enabled. In the third mode, serving as a control, the participants were allowed to learn the targets visually. We again compared spatial updating performance with these modes and found no significant performance differences between modes. These results indicate that we can develop 3D audio interfaces on sensor rich off the shelf smartphone devices, without the need of expensive head tracking hardware. Finally, a third study, evaluated room layout learning performance by blindfolded participants with an android smartphone. Three perceptual and one non-perceptual mode were tested for cognitive map development. As expected the perceptual interfaces performed significantly better than the non-perceptual language based mode in an allocentric pointing judgment and in overall subjective rating. In sum, the perceptual interfaces led to better spatial learning performance and higher user ratings. Also there is no significant difference in a cognitive map developed through spatial audio based on tracking user’s head or hand. These results have important implications as they support development of accessible perceptually driven interfaces for smartphones