REAL-TIME PHYSICAL MODEL FOR SYNTHESIS OF SWORD SWING SOUNDS

Sword sounds are synthesised by physical models in real- time. A number of compact sound sources are used along the length of the sword which replicate the swoosh sound when swung through the air. Listening tests are carried out which reveal a model with reduced physics is perceived as more authentic. The model is further developed to be controlled by a Wii Controller and successfully extended to include sounds of a baseball bat and golf club

Research in Applied Mathematics, Fluid Mechanics and Computer Science

This report summarizes research conducted at the Institute for Computer Applications in Science and Engineering in applied mathematics, fluid mechanics, and computer science during the period October 1, 1998 through March 31, 1999

Sound Synthesis of Objects Swinging through Air Using Physical Models

A real-time physically-derived sound synthesis model is presented that replicates the sounds generated as an object swings through the air. Equations obtained from fluid dynamics are used to determine the sounds generated while exposing practical parameters for a user or game engine to vary. Listening tests reveal that for the majority of objects modelled, participants rated the sounds from our model as plausible as actual recordings. The sword sound effect performed worse than others, and it is speculated that one cause may be linked to the difference between expectations of a sound and the actual sound for a given object

Sound Synthesis of Objects Swinging through Air Using Physical Models

A real-time physically-derived sound synthesis model is presented that replicates the sounds generated as an object swings through the air. Equations obtained from fluid dynamics are used to determine the sounds generated while exposing practical parameters for a user or game engine to vary. Listening tests reveal that for the majority of objects modelled, participants rated the sounds from our model as plausible as actual recordings. The sword sound effect performed worse than others, and it is speculated that one cause may be linked to the difference between expectations of a sound and the actual sound for a given object

Creating Real-Time Aeroacoustic Sound Effects Using Physically Informed Models

Aeroacoustics is a branch of engineering within fluid dynamics. It encompasses sounds generated by disturbances in air either by an airflow being disturbed by an object or an object moving through air. A number of fundamental sound sources exist depending on the geometry of the interacting objects and the characteristics of the flow. An example of a fundamental aeroacoustic sound source is the Aeolian tone, generated by vortex shedding as air flows around an object. A compact source model of this sound is informed from fluid dynamics principles, operating in real-time, and presenting highly relevant parameters to the user. A swinging sword, Aeolian harp, and propeller are behavior models are presented to illustrate how a taxonomy of real-time aeroacoustic sound synthesis can be achieved through physical informed modeling. Evaluation indicates that the resulting sounds are perceptually as believable as sounds produced by other synthesis methods, while objective evaluations reveal similarities and differences between our models, pre-recorded samples, and those generated by computationally complex offline methods

Stato dell’arte nella sintesi di texture sonore

The synthesis of sound textures, such as rain, wind, or crowds, is an important application for cinema, multimedia creation, games and installations. However, despite the clearly defined requirements of naturalness and flexibility, no automatic method has yet found widespread use. After clarifying the definition, terminology, and usages of sound texture synthesis, we will give an overview of the many existing methods and approaches, and the few available software implementations, and classify them by the synthesis model they are based on, such as subtractive or additive synthesis, granular synthesis, corpus-based concatenative synthesis, wavelets, or physical modeling. Additionally, an overview is given over analysis methods used for sound texture synthesis, such as segmentation, statistical modeling, timbral analysis, and modeling of transitions

Autocalibrating vision guided navigation of unmanned air vehicles via tactical monocular cameras in GPS denied environments

This thesis presents a novel robotic navigation strategy by using a conventional tactical monocular camera, proving the feasibility of using a monocular camera as the sole proximity sensing, object avoidance, mapping, and path-planning mechanism to fly and navigate small to medium scale unmanned rotary-wing aircraft in an autonomous manner. The range measurement strategy is scalable, self-calibrating, indoor-outdoor capable, and has been biologically inspired by the key adaptive mechanisms for depth perception and pattern recognition found in humans and intelligent animals (particularly bats), designed to assume operations in previously unknown, GPS-denied environments. It proposes novel electronics, aircraft, aircraft systems, systems, and procedures and algorithms that come together to form airborne systems which measure absolute ranges from a monocular camera via passive photometry, mimicking that of a human-pilot like judgement. The research is intended to bridge the gap between practical GPS coverage and precision localization and mapping problem in a small aircraft. In the context of this study, several robotic platforms, airborne and ground alike, have been developed, some of which have been integrated in real-life field trials, for experimental validation. Albeit the emphasis on miniature robotic aircraft this research has been tested and found compatible with tactical vests and helmets, and it can be used to augment the reliability of many other types of proximity sensors