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Transforming Transformation: 3D Models for Interactive Sound Design

转型转型：交互式声音设计的 3D 模型

基本信息

批准号：
AH/M010368/1
负责人：
Jamie Bullock
金额：
$ 5.13万
依托单位：
Birmingham City University
依托单位国家：
英国
项目类别：
Research Grant
财政年份：
2015
资助国家：
英国
起止时间：
2015 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=AH%2FM010368%2F1
关键词：
Transforming Transformation 3D Models Interactive

项目摘要

'Transforming Transformation: 3D Models for Interactive Sound Design' will open up a new field of music technology research by exploring human-centred approaches to creative sound design. The project will involve the development of a proof-of-concept system, which enables sound to be manipulated through hand movements as if it were an invisible 3D object. The interaction will be enhanced by real-time visualisation within a virtual 3D space. The research surfaces the notion of a 'natural' interface for sound design taking account of already learned behaviour and innate skills such as motor memory, gesture and spatial awareness. The aim is to enable musicians and sound designers to 'think in sound' when working with technology, catalysing a shift from technology-centric to human-centric models. As a pilot project, we will concentrate on one specific audio processing technique: sound spatialisation, with a view to later amplifying our research findings in a larger project, addressing a wider range of sound design practices. In simple terms: our system will explore the idea that we can make users feel as if they are directly positioning sound in space by 'picking it up and moving it' with their hands, with the aim of serving as an exemplar for future, more detailed studies.Sound design entails the manipulation of sound for dramatic, realistic, musical, or emotional effect. Typically, audio is processed using techniques such as filtering, time-stretching, pitch shifting, granulation, attenuation and panning. These techniques are exposed to the sound designer through discrete controls such as 'sliders' and 'dials' each of which controls a single parameter in the underlying signal processing system. By contrast, human concepts of sound are characterised by polymorphous, perceptual, metaphorical, symbolic and onomatopoeic associations. Many of these associations are cross-sensory, for example: 'warm', 'bright', 'distant', 'metallic'. Furthermore, they suggest physicality and invite the possibility of direct quasi-tactile manipulation. This is especially true of spatialisation, where there exists a sense of sound localisation within an acoustic space, further evoking the idea of tangibility: 'moving' or 'placing' a sound, or even 'pushing' a sound to provide inertia in a given direction.Our research therefore challenges existing sound design models and explores the notion of a 'natural' and direct corporeal link between imagined sound and acoustic results. In order to achieve this, we will draw upon the immense benefits offered by the PI's research lab within a leading music Conservatoire. Being based within a Conservatoire environment, provides the project with immediate and unfettered access to high-quality musicians from a range of backgrounds. This serves to ground the research firmly in artistic practice, allowing artistic ideas to both test extant models and serve as the basis for new ones. Formal user experience reviews will be undertaken at milestone stages in the project allowing us to surface users' tacit views and opinions on their experience when using the developed system. The research method will also entail the commissioning of a new musical work utilising the system, to be premiered in a public workshop and concert in the final month of the project. This will serve as both an opportunity for testing in a 'real world' creative scenario and a means of disseminating the projects outputs in a public forum. There will also be a mid-project 'experimental jam' using the in-development system, which will be broadcast live on the internet. Music technology research has a strong track record for impacts in the sound design industry, particularly in game audio through techniques such as procedural audio generation. Our exploration of novel human-centred approaches to sound design will open up a new field of research and through a firm grounding in creative practice, cross-disciplinary impacts will be all the richer.

‘蜕变：3D模型交互式声音设计'将通过探索以人为本的方法来创造性的声音设计，开辟音乐技术研究的新领域。该项目将涉及一个概念验证系统的开发，该系统使声音能够通过手部动作进行操纵，就好像它是一个无形的3D对象。互动将通过虚拟3D空间内的实时可视化来增强。这项研究提出了声音设计的“自然”界面的概念，考虑到已经学习的行为和先天技能，如运动记忆，手势和空间意识。其目的是使音乐家和声音设计师在使用技术时能够“用声音思考”，促进从以技术为中心到以人为中心的模式转变。作为一个试点项目，我们将集中在一个特定的音频处理技术：声音空间化，以期以后扩大我们的研究成果在一个更大的项目，解决更广泛的声音设计实践。简而言之：我们的系统将探索一个想法，即我们可以让使用者感觉到他们是直接在空间中定位声音，用他们的手“拿起它并移动它”，目的是作为未来更详细研究的范例。声音设计包括对声音的操纵，以达到戏剧性、现实主义、音乐或情感效果。通常，使用诸如滤波、时间拉伸、音高移位、粒化、衰减和平移的技术来处理音频。这些技术通过诸如“滑块”和“拨号盘”的离散控制暴露给声音设计者，每个控制器控制底层信号处理系统中的单个参数。相比之下，人类的声音概念的特点是多态性，感知，隐喻，象征和拟声联想。这些联想中有许多是跨感官的，例如：“温暖”，“明亮”，“距离”，“金属”。此外，他们建议物理和邀请直接准触觉操纵的可能性。这是特别真实的空间化，在那里存在的声音定位在一个声学空间的感觉，进一步唤起有形的想法：“移动”或“放置”的声音，甚至“推”的声音，以提供惯性在一个给定的方向。因此，我们的研究挑战现有的声音设计模型，并探讨了一个“自然”的概念和想象的声音和声学效果之间的直接correlative链接。为了实现这一目标，我们将利用PI在领先的音乐学院内的研究实验室提供的巨大优势。基于音乐学院的环境，为该项目提供了直接和不受限制的访问来自各种背景的高质量音乐家。这有助于将研究牢固地建立在艺术实践中，使艺术思想既可以测试现存的模型，也可以作为新模型的基础。正式的用户体验审查将在项目的里程碑阶段进行，使我们能够在使用开发的系统时表达用户对他们体验的隐性观点和意见。该研究方法还将涉及使用该系统的新音乐作品的委托，该作品将在项目的最后一个月在公共研讨会和音乐会上首演。这将既是在“真实的世界”中测试创造性情景的机会，也是在公共论坛上传播项目成果的一种手段。还将有一个中期项目的“实验果酱”使用的发展中的系统，这将是在互联网上直播。音乐技术研究在声音设计行业的影响方面有着良好的记录，特别是通过程序音频生成等技术在游戏音频方面。我们对新颖的以人为本的声音设计方法的探索将开辟一个新的研究领域，并通过在创造性实践中的坚实基础，跨学科的影响将更加丰富。