Results 1  10
of
108
Synthesizing Sounds from Physically Based Motion
 SIGGRAPH
, 2001
"... This paper describes a technique for approximating sounds that are generated by the motions of solid objects. The technique builds on previous work in the field of physically based animation that uses deformable models to simulate the behavior of the solid objects. As the motions of the objects are ..."
Abstract

Cited by 72 (6 self)
 Add to MetaCart
This paper describes a technique for approximating sounds that are generated by the motions of solid objects. The technique builds on previous work in the field of physically based animation that uses deformable models to simulate the behavior of the solid objects. As the motions of the objects are computed, their surfaces are analyzed to determine how the motion will induce acoustic pressure waves in the surrounding medium. Our technique computes the propagation of those waves to the listener and then uses the results to generate sounds corresponding to the behavior of the simulated objects.
Modeling acoustics in virtual environments using the uniform theory of diffraction
 ACM Computer Graphics, SIGGRAPH’01 Proceedings
, 2001
"... Realistic modeling of reverberant sound in 3D virtual worlds provides users with important cues for localizing sound sources and understanding spatial properties of the environment. Unfortunately, current geometric acoustic modeling systems do not accurately simulate reverberant sound. Instead, they ..."
Abstract

Cited by 72 (10 self)
 Add to MetaCart
(Show Context)
Realistic modeling of reverberant sound in 3D virtual worlds provides users with important cues for localizing sound sources and understanding spatial properties of the environment. Unfortunately, current geometric acoustic modeling systems do not accurately simulate reverberant sound. Instead, they model only direct transmission and specular reflection, while diffraction is either ignored or modeled through statistical approximation. However, diffraction is important for correct interpretation of acoustic environments, especially when the direct path between sound source and receiver is occluded. The Uniform Theory of Diffraction (UTD) extends geometrical acoustics with diffraction phenomena: illuminated edges become secondary sources of diffracted rays that in turn may propagate through the environment. In this paper, we propose an efficient way for computing the acoustical effect of diffraction paths using the UTD for deriving secondary diffracted rays and associated diffraction coefficients. Our main contributions are: 1) a beam tracing method for enumerating sequences of diffracting edges efficiently and without aliasing in densely occluded polyhedral environments; 2) a practical approximation to the simulated sound field in which diffraction is considered only in shadow regions; and 3) a realtime auralization system demonstrating that diffraction dramatically improves the quality of spatialized sound in virtual environments.
Synthesizing Sounds from RigidBody Simulations
, 2002
"... and compelling sounds that correspond to the motions of rigid objects. By numerically precomputing the shape and frequencies of an object's deformation modes, audio can be synthesized interactively directly from the force data generated by a standard rigidbody simulation. Using sparsematrix e ..."
Abstract

Cited by 71 (1 self)
 Add to MetaCart
and compelling sounds that correspond to the motions of rigid objects. By numerically precomputing the shape and frequencies of an object's deformation modes, audio can be synthesized interactively directly from the force data generated by a standard rigidbody simulation. Using sparsematrix eigendecomposition methods, the deformation modes can be computed efficiently even for large meshes. This approach allows us to accurately model the sounds generated by arbitrarily shaped objects based only on a geometric description of the objects and a handful of material parameters. We validate our method by comparing results from a simulated set of wind chimes to audio measurements taken from a real set.
A Beam Tracing Method for Interactive Architectural Acoustics
, 2003
"... A difficult challenge in geometrical acoustic modeling is computing propagation paths from sound sources to receivers fast enough for interactive applications. We paper describe a beam tracing method that enables interactive updates of propagation paths from a stationary source to a moving receiv ..."
Abstract

Cited by 60 (4 self)
 Add to MetaCart
A difficult challenge in geometrical acoustic modeling is computing propagation paths from sound sources to receivers fast enough for interactive applications. We paper describe a beam tracing method that enables interactive updates of propagation paths from a stationary source to a moving receiver. During a precomputation phase, we trace convex polyhedral beams from the location of each sound source, constructing a "beam tree" representing the regions of space reachable by potential sequences of transmissions, diffractions, and specular reflections at surfaces of a 3D polygonal model. Then, during an interactive phase, we use the precomputed beam trees to generate propagation paths from the source(s) to any receiver location at interactive rates. The key features of our beam tracing method are: 1) it scales to support large architectural environments, 2) it models propagation due to wedge diffraction, 3) it finds all propagation paths up to a given termination criterion without exhaustive search or risk of undersampling, and 4) it updates propagation paths at interactive rates. We demonstrate use of this method for interactive acoustic design of architectural environments.
Precomputed Acoustic Transfer: Outputsensitive, accurate sound generation for geometrically complex vibration sources
 ACM Transactions on Graphics (SIGGRAPH
, 2006
"... Simulating sounds produced by realistic vibrating objects is challenging because sound radiation involves complex diffraction and interreflection effects that are very perceptible and important. These wave phenomena are well understood, but have been largely ignored in computer graphics due to the h ..."
Abstract

Cited by 46 (9 self)
 Add to MetaCart
Simulating sounds produced by realistic vibrating objects is challenging because sound radiation involves complex diffraction and interreflection effects that are very perceptible and important. These wave phenomena are well understood, but have been largely ignored in computer graphics due to the high cost and complexity of computing them at audio rates.
Phonon Tracing for Auralization and Visualization of Sound
, 2005
"... We present a new particle tracing approach for the simulation of mid and highfrequency sound. Inspired by the photorealism obtained by methods like photon mapping, we develop a similar method for the physical simulation of sound within rooms. For given source and listener positions, our method co ..."
Abstract

Cited by 30 (6 self)
 Add to MetaCart
We present a new particle tracing approach for the simulation of mid and highfrequency sound. Inspired by the photorealism obtained by methods like photon mapping, we develop a similar method for the physical simulation of sound within rooms. For given source and listener positions, our method computes a finiteresponse filter accounting for the different reflections at various surfaces with frequencydependent absorption coefficients. Convoluting this filter with an anechoic input signal reproduces a realistic aural impression of the simulated room. We do not consider diffraction effects due to low frequencies, since these can be better computed by finite elements. Our method allows the visualization of a wavefront propagation using colorcoded blobs traversing the paths of individual phonons.
A Realtime Beam Tracer with Application to Exact Soft Shadows
 EUROGRAPHICS SYMPOSIUM ON RENDERING (2007) JAN KAUTZ AND SUMANTA PATTANAIK (EDITORS)
, 2007
"... Efficiently calculating accurate soft shadows cast by area light sources remains a difficult problem. Ray tracing based approaches are subject to noise or banding, and most other accurate methods either scale poorly with scene geometry or place restrictions on geometry and/or light source size and s ..."
Abstract

Cited by 29 (5 self)
 Add to MetaCart
Efficiently calculating accurate soft shadows cast by area light sources remains a difficult problem. Ray tracing based approaches are subject to noise or banding, and most other accurate methods either scale poorly with scene geometry or place restrictions on geometry and/or light source size and shape. Beam tracing is one solution which has historically been considered too slow and complicated for most practical rendering applications. Beam tracing’s performance has been hindered by complex geometry intersection tests, and a lack of good acceleration structures with efficient algorithms to traverse them. We introduce fast new algorithms for beam tracing, specifically for beam–triangle intersection and beam–kdtree traversal. The result is a beam tracer capable of calculating precise primary visibility and point light shadows in realtime. Moreover, beam tracing provides full area elements instead of point samples, which allows us to maintain coherence through to secondary effects and utilize the GPU for high quality antialiasing and shading with minimal extra cost. More importantly, our analysis shows that beam tracing is particularly well suited to soft shadows from area lights, and we generate essentially exact noisefree soft shadows for complex scenes in seconds rather than minutes or hours.
Realtime rendering of aerodynamic sound using sound textures based on computational fluid dynamics
 Aug.), 732–740. (Proceedings of ACM SIGGRAPH
, 2003
"... An example of aerodynamic sound generated by swinging swords. Sound wave (below) is computed based on the motion and shape of the swords. The motion blur is artificially added to visualize the motion of the swords. In computer graphics, most research focuses on creating images. However, there has be ..."
Abstract

Cited by 26 (1 self)
 Add to MetaCart
An example of aerodynamic sound generated by swinging swords. Sound wave (below) is computed based on the motion and shape of the swords. The motion blur is artificially added to visualize the motion of the swords. In computer graphics, most research focuses on creating images. However, there has been much recent work on the automatic generation of sound linked to objects in motion and the relative positions of receivers and sound sources. This paper proposes a new method for creating one type of sound called aerodynamic sound. Examples of aerodynamic sound include sound generated by swinging swords or by wind blowing. A major source of aerodynamic sound is vortices generated in fluids such as air. First, we propose a method for creating sound textures for aerodynamic sound by making use of computational fluid dynamics. Next, we propose a method using the sound textures for realtime rendering of aerodynamic sound according to the motion of objects or wind velocity. CR Categories: I.3.7 [Computer Graphics]: ThreeDimensional
ADFrustum: Adaptive Frustum Tracing for Interactive Sound Propagation
, 2007
"... We present an interactive algorithm to compute sound propagation paths for transmission, specular reflection and edge diffraction in complex scenes. Our formulation uses an adaptive frustum representation that is automatically subdivided to accurately compute intersections with the scene primitives ..."
Abstract

Cited by 20 (8 self)
 Add to MetaCart
We present an interactive algorithm to compute sound propagation paths for transmission, specular reflection and edge diffraction in complex scenes. Our formulation uses an adaptive frustum representation that is automatically subdivided to accurately compute intersections with the scene primitives. We describe a simple and fast algorithm to approximate the visible surface for each frustum and generate new frusta based on specular reflection and edge diffraction. Our approach is applicable to all triangulated models and we demonstrate its performance on architectural and outdoor models with tens or hundreds of thousands of triangles and moving objects. In practice, our algorithm can perform geometric sound propagation in complex scenes at 420 frames per second on a multicore PC.
PriorityDriven Acoustic Modeling for Virtual Environments
 EUROGRAPHICS
, 2000
"... Geometric acoustic modeling systems spatialize sounds according to reverberation paths from a sound source to a receiver to give an auditory impression of a virtual 3D environment. These systems are useful for concert hall design, teleconferencing, training and simulation, and interactive virtual ..."
Abstract

Cited by 19 (3 self)
 Add to MetaCart
Geometric acoustic modeling systems spatialize sounds according to reverberation paths from a sound source to a receiver to give an auditory impression of a virtual 3D environment. These systems are useful for concert hall design, teleconferencing, training and simulation, and interactive virtual environments. In many cases, such as in an interactive walkthrough program, the reverberation paths must be updated within strict timing constraints  e.g., as the sound receiver moves under interactive control by a user. In this paper, we describe a geometric acoustic modeling algorithm that uses a priority queue to trace polyhedral beams representing reverberation paths in bestfirst order up to some termination criteria (e.g., expired timeslice). The advantage of this algorithm is that it is more likely to find the highest priority reverberation paths within a fixed timeslice, avoiding many geometric computations for lowerpriority beams. Yet, there is overhead in computing prior...