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  4. Re-sonification of objects, events, and environments
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Re-sonification of objects, events, and environments

Full metadata

Description

Digital sound synthesis allows the creation of a great variety of sounds. Focusing on interesting or ecologically valid sounds for music, simulation, aesthetics, or other purposes limits the otherwise vast digital audio palette. Tools for creating such sounds vary from arbitrary methods of altering recordings to precise simulations of vibrating objects. In this work, methods of sound synthesis by re-sonification are considered. Re-sonification, herein, refers to the general process of analyzing, possibly transforming, and resynthesizing or reusing recorded sounds in meaningful ways, to convey information. Applied to soundscapes, re-sonification is presented as a means of conveying activity within an environment. Applied to the sounds of objects, this work examines modeling the perception of objects as well as their physical properties and the ability to simulate interactive events with such objects. To create soundscapes to re-sonify geographic environments, a method of automated soundscape design is presented. Using recorded sounds that are classified based on acoustic, social, semantic, and geographic information, this method produces stochastically generated soundscapes to re-sonify selected geographic areas. Drawing on prior knowledge, local sounds and those deemed similar comprise a locale's soundscape. In the context of re-sonifying events, this work examines processes for modeling and estimating the excitations of sounding objects. These include plucking, striking, rubbing, and any interaction that imparts energy into a system, affecting the resultant sound. A method of estimating a linear system's input, constrained to a signal-subspace, is presented and applied toward improving the estimation of percussive excitations for re-sonification. To work toward robust recording-based modeling and re-sonification of objects, new implementations of banded waveguide (BWG) models are proposed for object modeling and sound synthesis. Previous implementations of BWGs use arbitrary model parameters and may produce a range of simulations that do not match digital waveguide or modal models of the same design. Subject to linear excitations, some models proposed here behave identically to other equivalently designed physical models. Under nonlinear interactions, such as bowing, many of the proposed implementations exhibit improvements in the attack characteristics of synthesized sounds.

Date Created
2013
Contributors
  • Fink, Alex M (Author)
  • Spanias, Andreas S (Thesis advisor)
  • Cook, Perry R. (Committee member)
  • Turaga, Pavan (Committee member)
  • Tsakalis, Konstantinos (Committee member)
  • Arizona State University (Publisher)
Topical Subject
  • Electrical Engineering
  • Music
  • Acoustics
  • Acoustic Ecology
  • Estimation
  • Physical Modeling
  • Soundscapes
  • Sound Synthesis
  • Spectral Modeling
  • Soundscapes (Music)
  • Sound--Recording and reproducing--Digital techniques.
Resource Type
Text
Genre
Doctoral Dissertation
Academic theses
Extent
xviii, 234 p. : ill. (some col.)
Language
eng
Copyright Statement
In Copyright
Reuse Permissions
All Rights Reserved
Primary Member of
ASU Electronic Theses and Dissertations
Peer-reviewed
No
Open Access
No
Handle
https://hdl.handle.net/2286/R.I.17897
Statement of Responsibility
by Alex M. Fink
Description Source
Viewed on Dec. 5, 2013
Level of coding
full
Note
Partial requirement for: Ph.D., Arizona State University, 2013
Note type
thesis
Includes bibliographical references (p. 118-133)
Note type
bibliography
Field of study: Electrical engineering
System Created
  • 2013-07-12 06:23:28
System Modified
  • 2021-08-30 01:41:47
  •     
  • 1 year 4 months ago
Additional Formats
  • OAI Dublin Core
  • MODS XML

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