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Adaptive Music and Interactive Audio
The document outlines a course on adaptive music and interactive audio at Charles University, covering techniques in sound design, generative music, and audio implementation in gaming and interactive media. It discusses the physics of sound, sound's role in user interfaces, and various categories of audio effects, including diegetic and non-diegetic sounds. Additionally, the document emphasizes the importance of sound in creating immersive environments while noting the complexities of audio perception and localization.
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Adaptive Music and Interactive Audio
- 1. Adam Sporka Charles University Tuesdays10.40, Room SW1, Malostranské náměstí 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 asan Interactive Medium
- 4. What Is Soundto People? • Physics – Sound field – Signal – Content of signal • Music / audio design – Tone, noise – Sample, loop – Subjective property of a device • „The headphones have a nice sound“
- 5. We’re Mostly VisualCreatures • 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 Descriptionof Sound Physics Design
- 7. Common Applications ofSound • Obvious: – Film, video games – Acoustic notification of background processes • Less obvious: – Subjective reduction of noise level
- 8. Sound in UserInterfaces • Interaction modality (input and output) • Alerts • Widget sounds • Presentation of data • Mood setters • Sound branding
- 9. Sound in VideoGames • 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?
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- 12. Behavior of AudioSources 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-auralTime Difference IID: Inter-aural Intensity Difference HRTF: Head-related Transfer Function
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- 15. Diegetic Sounds • Belongingto 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 • Withoutany events happening, what would you hear?
- 17. Non-diegetic Sounds • Cannotbe explained by the processes in the world Examples: • Narrator’s voice-overs • Abstract sound effects • Music (if not from a visible source)
- 18. User Interface Sounds •Definitely not anyhow a part of the world Examples: • Buttons pressed • Choices activated • Alerts • Widgets
- 19. Sound Effects byDuration • One-shots – Short (or finite) – 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 Multiplesounds 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 Peopleare 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 Veryimportant: • 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 • Nosound in space • Can’t whisper in a crowd • Plate armor does not sound hollow • Camera is not the same thing as the microphone