(Of notches/peaks) On Friday, 18 December 2015, Augustine Leudar <augustineleu...@gmail.com> wrote:
> 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 > <javascript:_e(%7B%7D,'cvml','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 > > -- www.augustineleudar.com -------------- next part -------------- An HTML attachment was scrubbed... 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