On Sun, 30 Aug 2015 20:37:58 +0300 (EEST) Sampo Syreeni <de...@iki.fi> wrote:
> On 2015-08-30, gwenhwyfaer wrote: > > > Cool, someone else who's as loath to join the 21st century as I am... > > This kind of makes you wonder about when you'd actually try to brute > force tens of thousands of sample long FIR's, no? (Hi, first post to list) Real-time auralization of dynamic sound sources in Virtual Environments would be one application. Myself coming more from the graphics/interaction side, our fellow acoustician colleagues do this in order to couple arbitrarily moving sound sources with a potentially dynamic room acoustics simulation. http://euracoustics.org/documenta/dd-product/physically-based-real-time-auralization-of-interactive-virtual-environments/ http://publications.rwth-aachen.de/record/466561 http://www.aes.org/e-lib/browse.cfm?elib=16208 > Obviously, that stuff is pretty specialised and totally irrelevant to > audio DSP. But every now and then, sure, even something as insane as > this really *is* done. ;) I think there is also some relevance to music-related applications. If I have a position-tracked audience with headphones being able to move during a musical performance, or e.g. in a theatre performance the moving actors as virtual sound sources, and want to place them in arbitrary virtual acoustic settings, the techniques cited above would probably apply as well. Wether the same degree of realism is really required for a musical performance is probably debatable, but if I want to accurately reproduce the room-acoustic properties of dynamic scenes, folding (probably very many) sound sources with very long dynamically generated impulse responses is definitely something which you would do in the context of musical DSP. Best regards, Patric -- Patric Schmitz <bzk0...@aol.com> _______________________________________________ dupswapdrop: music-dsp mailing list music-dsp@music.columbia.edu https://lists.columbia.edu/mailman/listinfo/music-dsp
