Scribd Logo
Upload

Welcome to Scribd!

  • 16 views

    Sound Rendering: Noninteractive and Interactive Audio

    Uploaded by

    Fdjajajajaj
    The document discusses noninteractive and interactive audio mixing. Noninteractive mixing has a set order of events that cannot change, like in film soundtracks or recorded songs. Interactive mixing has a changing order of events with no set pattern, like in video games. Noninteractive mixing is usually done offline, while interactive mixing develops the mix on the fly in response to user input. The key difference is that interactive mixing must allow for variation when events repeat, while noninteractive mixing does not.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd

    Sound Rendering: Noninteractive and Interactive Audio

    Uploaded by

    Fdjajajajaj
    16 views16 pages
    The document discusses noninteractive and interactive audio mixing. Noninteractive mixing has a set order of events that cannot change, like in film soundtracks or recorded songs. Interactive mixing has a changing order of events with no set pattern, like in video games. Noninteractive mixing is usually done offline, while interactive mixing develops the mix on the fly in response to user input. The key difference is that interactive mixing must allow for variation when events repeat, while noninteractive mixing does not.

    Original Title

    9

    Copyright

    © © All Rights Reserved

    Available Formats

    PDF, TXT or read online from Scribd

    Did you find this document useful?

    Is this content inappropriate?

    The document discusses noninteractive and interactive audio mixing. Noninteractive mixing has a set order of events that cannot change, like in film soundtracks or recorded songs. Interactive mixing has a changing order of events with no set pattern, like in video games. Noninteractive mixing is usually done offline, while interactive mixing develops the mix on the fly in response to user input. The key difference is that interactive mixing must allow for variation when events repeat, while noninteractive mixing does not.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    16 views16 pages

    Sound Rendering: Noninteractive and Interactive Audio

    Uploaded by

    Fdjajajajaj
    The document discusses noninteractive and interactive audio mixing. Noninteractive mixing has a set order of events that cannot change, like in film soundtracks or recorded songs. Interactive mixing has a changing order of events with no set pattern, like in video games. Noninteractive mixing is usually done offline, while interactive mixing develops the mix on the fly in response to user input. The key difference is that interactive mixing must allow for variation when events repeat, while noninteractive mixing does not.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    of 16

    7.

    Sound rendering:
    noninteractive and
    interactive audio
    (Noninteractive and Event-based
    mixing)

    Sistemas de audio, 2022-23 7. Audio engines. 1


    Mixing console

    Sistemas de audio, 2022-23 7. Audio engines. 2


    Sound engine (mixing console)

     Types of inputs
     Analog connection: microphone or line level
     Digital connection:
     AES/EBU, SPDIF, streaming, etc
     Sound files
     Mono, stereo or multichannel
     Input module: signal conditioning, processing and routing
    of a given input.
     Track structure: organization of signals in different buses
     Master bus: final adjustments

    Sistemas de audio, 2022-23 7. Audio engines. 3


    Input module

     Signal conditioning
     Level adjustment
     Preprocessing (high-pass filtering, phase change, etc.)
     Signal processing
     Serial: equalization (EQ), compression, noise gate.
     Parallel (processed outside the module  AUX or SND/RTN
    groups): FX (distorsion, flanger, chorus, etc.) and reverberation.
     Signal routing
     Panning
     Assignment to groups (buses)

    Sistemas de audio, 2022-23 7. Audio engines. 4


    Signal (processing) chain - EXAMPLE

    SERIAL PROCESSING
    Primary source Dry

    Gas mask Distance PROCESSED


    Speech EQ
    effect attenuation SIGNAL

    Copy Wet

    PROCESSED
    Distortion Reverberation
    SIGNAL

    PARALLEL PROCESSING
    Sistemas de audio, 2022-23 7. Audio engines. 5
    PERCEPTION

    Psychology of Perception
    (what we really listen)

    Sistemas de audio, 2022-23 7. Audio engines. 14


    PERCEPTION
    Grouping rule: similar sizes
    Grouping rule: similar shapes

    Time

    Grouping rule: synchrony


    Auditive object
    Auditive stream

    Sistemas de audio, 2022-23 7. Audio engines. 15


    PERCEPTION Rules of Perceptual Organization

     Belonging: something can not belong to two different


    objects at the same time.
     Law of similarity: ease to be grouped if similar.
     Law of proximity: ease to be grouped if being close to.
     Common time pattern: ease to be grouped if synchronous.
     Law of continuity: ease to be grouped if this implies that
    a previous grouping would remain.
     Law of closure: tendency to fill perceptual information
    gaps and perceive a complete pattern.
     ........

    Gestalt psychology, https://en.wikipedia.org/wiki/Gestalt_psychology

    Sistemas de audio, 2022-23 7. Audio engines. 19


    PERCEPTION

    Sistemas de audio, 2022-23 7. Audio engines. 20


    PERCEPTION The auditory space

     “The auditory world is like the visual world would be if all


    objects were very, very transparent and glowed in
    sputters and starts by their own light, as well as
    reflecting the light of their neighbors. This would be a
    hard world for the visual system to deal with.” (Bregman)

    Why????

     Analytical or synthetical attention (at will)


     Analytical: we select, conscious or unconsciously, an auditory
    stream
     Synthetical: we group different auditory streams

    Bregman, Auditory scene analysis, https://en.wikipedia.org/wiki/Auditory_scene_analysis

    Sistemas de audio, 2022-23 7. Audio engines. 21


    Mixing!!!

    Sistemas de audio, 2022-23 7. Audio engines. 22


    Mixing: combine clearly perceived sounds

     Frequency distinction cues


     Key timbre cues
     Presence boost
     Time distinction cues
     (Very slightly) different time onsets to emphasize different sources
     Timbre distinction cues
     Different FX sets generate different timbres.
     ….?????

    Try to emphasize distinction cues to maximize separation


    or minimize differences to ease grouping!!!

    Sistemas de audio, 2022-23 7. Audio engines. 23


    Mixing: combine clearly perceived sounds

     Frequency distinction cues


     Key timbre cues
     Presence boost
     Time distinction cues
     (Very slightly) different time onsets to emphasize different sources
     FX distinction cues
     Different FX sets generate different timbres.
     Spatial distinction cues
     PAN: distribute sounds from left (L) to right(R). Avoid extreme
    values.
     Front-back: use reverberation, level and filtering to “move”
    sounds back and forth.
     ….????? Try to emphasize distinction cues to maximize separation
    Perceptual grouping or minimize differences to ease grouping!!!
    Sistemas de audio, 2022-23 7. Audio engines. 29
    Room in frequency for everyone!

     Frequency spectrum is finite, a fixed bandwidth


     Each instrument timbre has its “magic frequencies”
     Prepare timbre within the mix, not played alone!
     Subtractive equalization
     Cut the frequency ranges that are not representative, so the
    signal to noise ratio of other tracks is enhanced.
     Additive equalization
     Keep (or slightly boost) the frequency ranges that are
    representative.
     If two sounds share the same frequency ranges, then
    other cues have to be applied
    Perceptual grouping Check information about
    Masking
    Noise reduction mixing at the end!!
    Sistemas de audio, 2022-23 7. Audio engines. 30
    Noninteractive
    vs
    Interactive
    mixing

    Sistemas de audio, 2022-23 7. Audio engines. 31


    Interactive vs Noninteractive mix

     Noninteractive: each event is in a particular order, and


    the order cannot be changed. So, there is a time pattern.
     Examples: film soundtrack, recorded songs, …
     (Usually) Few different items (tracks).
     No need for variation when repeated.
     (Usually) Mix is offline. If online (p.e. live show), the order is
    mostly preserved.
     Interactive (Event-driven sound mixing): there is a
    changing event order and events appear with no given
    time pattern.
     Examples: videogames, simulators, VR/AR environments, …
     (Usually) A large number of different items (assets).
     Need for variation when repeated.
     (Usually) Mix is developed on the fly.
    The Essential Guide to Game Audio: The Theory and Practice of Sound for Games, Steve Horowitz
    Sistemas de audio, 2022-23 7. Audio engines. 32

    You might also like