Category Archives: Synthesis

Objective Evaluation of Synthesised Environmental Sounds

Having recently attended DAFx, for my 4th year, I was presenting my paper on Objective Evaluation of Synthesised Environmental Sounds. WhatsApp Image 2018-09-06 at 15.00.44

 

The basic premis of the paper, is that we can computational measure how similar two sounds are using an objective metric. This objective metric can be evaluated using an iterative resynthesis approach. And a given similarity score can be evaluated through comparison to human perception.ObjectiveEvalSynthesis

 

 

I hope this made sense, but if not please get in touch and I would be happy to explain further. The paper will be available on the DAFx Website shortly.

Sound Synthesis – Are we there yet?

TL;DR. Yes

At the beginning of my PhD, I began to read the sound effect synthesis literature, and I quickly discovered that there was little to no standardisation or consistency in evaluation of sound effect synthesis models – particularly in relations to the sounds they produce. Surely one of the most important aspects of a synthetic system, is whether it can artifically produce a convincing replacement for what it is intended to synthesize. We could have the most intractable and relatable sound model in the world, but if it does not sound anything like it is intended to, then will any sound designers or end users ever use it?

There are many different methods for measuring how effective a sound synthesis model is. Jaffe proposed evaluating synthesis techniques for music based on ten criteria. However, only two of the ten criteria actually consider any sounds made by the synthesiser.

This is crazy! How can anyone know what synthesis method can produce a convincingly realistic sound?

So, we performed a formal evaluation study, where a range of different synthesis techniques where compared in a range of different situations. Some synthesis techniques are indistinguishable from a recorded sample, in a fixed medium environment. In short – Yes, we are there yet. There are sound synthesis methods that sound more realistic than high quality recorded samples. But there is clearly so much more work to be done…

For more information, read the paper here

Propellor Sound Synthesis at Audio Mostly

Recently, at the Audio Mostly 2017 conference, my work with Rod Selfridge and Josh Reiss was published on Propellor Sound Synthesis. I was both published at the conference, on the conference organising committee, as a the webmaster and a member of the music team. More information is available here on the Intelligent Sound Engineering Blog, and an example of the propellor synthesis is available on youtube.

Sound Effects in Post Production

It has been quite a while since I have posted, but I hope to resolve that shortly with a number of academic papers being published this summer,

In the meantime, there is some discussion over the use of sound effects in port production, and the fundamental fact that many things you hear as part of a soundscape are not the original recorded sound – this is the one of the fundamental justifications for my PhD and this is very well explained in this TED Talk:

https://www.ted.com/talks/tasos_frantzolas_everything_you_hear_on_film_is_a_lie

 

 

AES61 Audio for Games

The 61th International Conference of the Audio Engineering Society on Audio for Games took place in London from 10 to 12 February. This is the fifth edition of the Audio for Games conference which features a mixture of invited talks and academic paper sessions. Traditionally a biennial event, by popular demand the conference was organised in 2016 again following a very successful 4th edition in 2015.

Christian Heinrichs presented work from his doctoral research with Andrew McPherson, discussing Digital Foley and introducing FoleyDesigner, which allows for effectively using human gestures to control sound effects models.

I presented a paper in the Synthesis and Sound Design paper session, on weapon sound synthesis and my colleague William Wilkinson presented work on mammalian growls, both of which can be found in the conference proceedings.  

Furthermore, Xavier Serra and Frederic Font presented the Audio Commons project and how the creative industries could benefit from and get access to content with liberal licenses

Along with presenting work at this conference, I was also involved as the technical coordinator and webmaster for the Audio for Games community.

More information about the conference can be found on the conference website.

DAFx Day 3

Day three of the Digital Audio Effects Conference (DAFx15) began with an excellent introduction and summary of Wave Digital filters and Digital Wave Guides by Kurt Werner and Julius O. Smith from CCRMA, in which the current state of the art in physical modelling no nonlinearities was presented and some potential avenues for future exploration was discussed. Following on from this work was discussed

DAFx Day 2

Photo from http://www.ntnu.edu/web/dafx15/dafx15 Photo by Jørn Adde © Trondheim kommune

Day two of DAFx conference in Trondheim NTNU opened with Marije Baalmans keynote on the range of hardware and software audio effects and synthesisers are available to artists, and how different artists utilise these effects. This talk was focused primarily on small embedded systems that artists use, such as Arduino, Beaglebone Black and Raspberry Pi. Later in the day, some excellent work including: