Any one by any chance know the Q, db value and migrating frequency range to create the illusion of elevation (generic values) offhand ?
On Tuesday, 15 December 2015, <st...@mail.telepac.pt> wrote: > All well, Jörn... > > It is possible to criticize some of the assumptions below. Nevertheless, > people doing some practical work have worked out since quite a while that > head movements do matter for localization. > > This was why I provided the links. One linl is about some current VR SDK, > the 2nd link is some older article. > ( > The second link seems also to prove that audio objects have not been > invented by Dolby. (Not a scientific proof, admittedly. ;-) ) > > "This is games design, not acoustics. > Done properly, it should look something like http://www.audioborn.com/. A > new company spun off from a research effort at ITA/RWTH Aachen, and their > demo at ICSA 2015 was mighty sweet." > > Of course, the article was more than 10 years old. It is about some > ascoustical problems and questions you have to think about if you are > working in game audio... > > I am apologizing for wasting your time presenting information which could > not be presented at any AES conference, with the exception of the 2nd > article. > > Best, > > Stefan > > > > Citando Jörn Nettingsmeier <netti...@stackingdwarves.net>: > > On 12/15/2015 03:32 AM, Stefan Schreiber wrote: >> >>> In our discussion before we have found convincing evidence and arguments >>> that head motion should be relevant even to obtain improved vertical >>> localization. >>> >> >> Just to set the record straight again: evidence is not to be found on >> sursound. Evidence is found in the lab. :-] >> >> Hat-tip to those who actually do the grunt work that forms the basis of >> sursound sermons. >> >>> If sound sources are immovable, their positions can't be determined >>>> precisely, because the brain needs them moving (movement of the source >>>> or subconscious micro-movements in the listener's head), which helps >>>> to determine a sound source position in the geometrical space. >>>> >>> >>> (?!) >>> >> >> Why quote such questionable statements? >> >>> Modern systems of reproduction of positioned 3D sound utilize HRTF >>>> functions forming virtual sound sources, but these synthetic virtual >>>> sources are spot. In the real life the sound mostly comes from large >>>> sources or composite ones which can consist of several individual >>>> sound generators. Large and composite sound sources allow for more >>>> realistic effects in comparison with spot sources. >>>> A spot source can be successfully applied to large but distant >>>> objects, for example, a moving train. But in the real life when the >>>> train is approaching the listener it's no more a spot source. >>>> >>> >>> (See >>> >>>> One of our postgrads (Dan Peterson >>>> <https://dxarts.washington.edu/people/daniel-peterson>) has been >>>> working on >>>> a doppler-panner that includes diffusion filtering and the proximity >>>> effect. >>>> >>> >>> ) >>> >> >> These two are orthogonal. The first quote talks about sources being >> physically spread out (e.g. composed of multiple point sources along a line >> or area), while the second talks about what happens if a point source >> approaches the listener. >> >>> The third group consists of the sound tone parameters. This can help >>>> the player define what the walls are made of, what is the air density >>>> in the environment etc. Every material reflects and absorbs certain >>>> frequencies. These parameters emulate such absorption and reflection. >>>> They are relative frequencies (LF - Low Frequency and HF - High >>>> Frequency) within which changes can be made. For example, metallic >>>> walls reflect more frequencies than wooden ones, and the HF level will >>>> be lower for them than for emulation of wood. For example, the >>>> workshop has the following parameters: 362Hz LF and 3762 Hz HF; a >>>> wooden room has the LF at 99 Hz and the HF at 4900 Hz. Finally, there >>>> are parameters controlling the effect of Room LF and HF frequencies >>>> (in dB). This subgroup also contains Decay factor for LF and HF, and >>>> Air Absorption HF factors. >>>> >>> >> This is games design, not acoustics. >> Done properly, it should look something like http://www.audioborn.com/. >> A new company spun off from a research effort at ITA/RWTH Aachen, and their >> demo at ICSA 2015 was mighty sweet. >> >> >> >>> It is a safe bet that specifically AR/VR will require a solid >>> understanding of acoustics and human audio perception. They will have to >>> find improved ways to reproduce surround sound (including 3D audio) via >>> headphones and loudspeakers. >>> >> >> Thanks for pointing this out. :-] >> >> -- >> Jörn Nettingsmeier >> Lortzingstr. 11, 45128 Essen, Tel. +49 177 7937487 >> >> Meister für Veranstaltungstechnik (Bühne/Studio) >> Tonmeister VDT >> >> http://stackingdwarves.net >> >> _______________________________________________ >> Sursound mailing list >> surso...@music.vt.eduhttps://mail.music.vt.edu/mailman/listinfo/sursound >> - unsubscribe here, edit account or options, view archives and so on. >> > > > -------------- next part -------------- > An HTML attachment was scrubbed... > URL: < > https://mail.music.vt.edu/mailman/private/sursound/attachments/20151215/a58aa01e/attachment.html > > > _______________________________________________ > Sursound mailing list > Sursound@music.vt.edu > https://mail.music.vt.edu/mailman/listinfo/sursound - unsubscribe here, > edit account or options, view archives and so on. > -- www.augustineleudar.com -------------- next part -------------- An HTML attachment was scrubbed... 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