Precise Near-to-Head Acoustics with Binaural Synthesis

For enhanced immersion into a virtual scene more than just the visual sense should be addressed by a Virtual Reality system. Additional auditory stimulation appears to have much potential, as it realizes a multisensory system. This is especially useful when the user does not have to wear any additional hardware, e.g., headphones. Creating a virtual sound scene with spatially distributed sources requires a technique for adding spatial cues to audio signals and an appropriate reproduction. In this paper we present a real-time audio rendering system that combines dynamic crosstalk cancellation and multi-track binaural synthesis for virtual acoustical imaging. This provides the possibility of simulating spatially distributed sources and, in addition to that, near-to-head sources for a freely moving listener in room-mounted virtual environments without using any headphones. A special focus will be put on near-to-head acoustics, and requirements in respect of the head-related transfer function databases are discussed.

Synthesis of Nature Sounds for Speech Masking

The introduction of open-plan offices in the 1960s with the intent of making the workplace more flexible, efficient, and team-oriented resulted in a higher noise floor level, which not only made concentrated work more difficult, but also caused physiological problems, such as increased stress, in addition to a loss of speech privacy. Irrelevant background human speech, in particular, has proven to be a major factor in disrupting concentration and lowering performance. Therefore, reducing the intelligibility of speech and has been a goal of increasing importance in recent years. One method employed to do so is the use of masking noises, which consists in emitting a continuous noise signal over a loudspeaker system that conceals the perturbing speech. Studies have shown that while effective, the maskers employed to date – normally filtered pink noise – are generally poorly accepted by users. The collaborative "Private Workspace" project, within the scope of which this thesis was carried out, attempts to develop a coupled, adaptive noise masking system along with a physical structure to be used for open-plan offices so as to combat these issues. There is evidence to suggest that nature sounds might be more accepted as masker, in part because they can have a visual object that acts as the source for the sound. Direct audio recordings are not recommended for various reasons, and thus the nature sounds must be synthesized. This work done consists of the synthesis of a sound texture to be used as a masker as well as its evaluation. The sound texture is composed of two parts: a wind-like noise synthesized with subtractive synthesis, and a leaf-like noise synthesized through granular synthesis. Different combinations of these two noises produced five variations of the masker, which were evaluated at different levels along with white noise and pink noise using a modified version of an Oldenburger Satztest to test for an affect on speech intelligibility and a questionnaire to asses its subjective acceptance. The goal was to find which of the synthesized noises works best as a speech masker. This thesis first uses a theoretical introduction to establish the basics of sound perception, psychoacoustic masking, and sound texture synthesis. The design of each of the noises, as well as their respective implementations in MATLAB, is explained, followed by the procedures used to evaluate the maskers. The results obtained in the evaluation are analyzed. Lastly, conclusions are drawn and future work is and modifications to the masker are proposed. RESUMEN. La introducción de las oficinas abiertas en los años 60 tenía como objeto flexibilizar el ambiente laboral, hacerlo más eficiente y que estuviera más orientado al trabajo en equipo. Como consecuencia, subió el nivel de ruido de fondo, que no sólo dificulta la concentración, sino que causa problemas fisiológicos, como el aumento del estrés, además de reducir la privacidad. Hay estudios que prueban que las conversaciones de fondo en particular tienen un efecto negativo en el nivel de concentración y disminuyen el rendimiento de los trabajadores. Por lo tanto, reducir la inteligibilidad del habla es uno de los principales objetivos en la actualidad. Un método empleado para hacerlo ha sido el uso de ruido enmascarante, que consiste en reproducir señales continuas de ruido a través de un sistema de altavoces que enmascare el habla. Aunque diversos estudios demuestran que es un método eficaz, los ruidos utilizados hasta la fecha (normalmente ruido rosa filtrado), no son muy bien aceptados por los usuarios. El proyecto colaborativo "Private Workspace", dentro del cual se engloba el trabajo realizado en este Proyecto Fin de Grado, tiene por objeto desarrollar un sistema de ruido enmascarador acoplado y adaptativo, además de una estructura física, para su uso en oficinas abiertas con el fin de combatir los problemas descritos anteriormente. Existen indicios de que los sonidos naturales son mejor aceptados, en parte porque pueden tener una estructura física que simule ser la fuente de los mismos. La utilización de grabaciones directas de estos sonidos no está recomendada por varios motivos, y por lo tanto los sonidos naturales deben ser sintetizados. El presente trabajo consiste en la síntesis de una textura de sonido (en inglés sound texture) para ser usada como ruido enmascarador, además de su evaluación. La textura está compuesta de dos partes: un sonido de viento sintetizado mediante síntesis sustractiva y un sonido de hojas sintetizado mediante síntesis granular. Diferentes combinaciones de estos dos sonidos producen cinco variaciones de ruido enmascarador. Estos cinco ruidos han sido evaluados a diferentes niveles, junto con ruido blanco y ruido rosa, mediante una versión modificada de un Oldenburger Satztest para comprobar cómo afectan a la inteligibilidad del habla, y mediante un cuestionario para una evaluación subjetiva de su aceptación. El objetivo era encontrar qué ruido de los que se han sintetizado funciona mejor como enmascarador del habla. El proyecto consiste en una introducción teórica que establece las bases de la percepción del sonido, el enmascaramiento psicoacústico, y la síntesis de texturas de sonido. Se explica a continuación el diseño de cada uno de los ruidos, así como su implementación en MATLAB. Posteriormente se detallan los procedimientos empleados para evaluarlos. Los resultados obtenidos se analizan y se extraen conclusiones. Por último, se propone un posible trabajo futuro y mejoras al ruido sintetizado.

Linguistic aspects of speech synthesis.

The conversion of text to speech is seen as an analysis of the input text to obtain a common underlying linguistic description, followed by a synthesis of the output speech waveform from this fundamental specification. Hence, the comprehensive linguistic structure serving as the substrate for an utterance must be discovered by analysis from the text. The pronunciation of individual words in unrestricted text is determined by morphological analysis or letter-to-sound conversion, followed by specification of the word-level stress contour. In addition, many text character strings, such as titles, numbers, and acronyms, are abbreviations for normal words, which must be derived. To further refine these pronunciations and to discover the prosodic structure of the utterance, word part of speech must be computed, followed by a phrase-level parsing. From this structure the prosodic structure of the utterance can be determined, which is needed in order to specify the durational framework and fundamental frequency contour of the utterance. In discourse contexts, several factors such as the specification of new and old information, contrast, and pronominal reference can be used to further modify the prosodic specification. When the prosodic correlates have been computed and the segmental sequence is assembled, a complete input suitable for speech synthesis has been determined. Lastly, multilingual systems utilizing rule frameworks are mentioned, and future directions are characterized.

Structure-based modeling of head -related transfer functions towards interactive customization of binaural sound systems

One of the most popular techniques for creating spatialized virtual sounds is based on the use of Head-Related Transfer Functions (HRTFs). HRTFs are signal processing models that represent the modifications undergone by the acoustic signal as it travels from a sound source to each of the listener's eardrums. These modifications are due to the interaction of the acoustic waves with the listener's torso, shoulders, head and pinnae, or outer ears. As such, HRTFs are somewhat different for each listener. For a listener to perceive synthesized 3-D sound cues correctly, the synthesized cues must be similar to the listener's own HRTFs. ^ One can measure individual HRTFs using specialized recording systems, however, these systems are prohibitively expensive and restrict the portability of the 3-D sound system. HRTF-based systems also face several computational challenges. This dissertation presents an alternative method for the synthesis of binaural spatialized sounds. The sound entering the pinna undergoes several reflective, diffractive and resonant phenomena, which determine the HRTF. Using signal processing tools, such as Prony's signal modeling method, an appropriate set of time delays and a resonant frequency were used to approximate the measured Head-Related Impulse Responses (HRIRs). Statistical analysis was used to find out empirical equations describing how the reflections and resonances are determined by the shape and size of the pinna features obtained from 3D images of 15 experimental subjects modeled in the project. These equations were used to yield “Model HRTFs” that can create elevation effects. ^ Listening tests conducted on 10 subjects show that these model HRTFs are 5% more effective than generic HRTFs when it comes to localizing sounds in the frontal plane. The number of reversals (perception of sound source above the horizontal plane when actually it is below the plane and vice versa) was also reduced by 5.7%, showing the perceptual effectiveness of this approach. The model is simple, yet versatile because it relies on easy to measure parameters to create an individualized HRTF. This low-order parameterized model also reduces the computational and storage demands, while maintaining a sufficient number of perceptually relevant spectral cues. ^

Towards an Asynchronous Cinema: how can the asynchronous use of sound in artists' moving image underpin the creation of dialectic tension between the audio, the visual and the audience?

This PhD by publication examines selected practice-based audio-visual works made by the author over a ten-year period, placing them in a critical context. Central to the publications, and the focus of the thesis, is an exploration of the role of sound in the creation of dialectic tension between the audio, the visual and the audience. By first analysing a number of texts (films/videos and key writings) the thesis locates the principal issues and debates around the use of audio in artists’ moving image practice. From this it is argued that asynchronism, first advocated in 1929 by Pudovkin as a response to the advent of synchronised sound, can be used to articulate audio-visual relationships. Central to asynchronism’s application in this paper is a recognition of the propensity for sound and image to adhere, and in visual music for there to be a literal equation of audio with the visual, often married with a quest for the synaesthetic. These elements can either be used in an illusionist fashion, or employed as part of an anti-illusionist strategy for realising dialectic. Using this as a theoretical basis, the paper examines how the publications implement asynchronism, including digital mapping to facilitate innovative reciprocal sound and image combinations, and the asynchronous use of ‘found sound’ from a range of online sources to reframe the moving image. The synthesis of publications and practice demonstrates that asynchronism can both underpin the creation of dialectic, and be an integral component in an audio-visual anti-illusionist methodology.

An examination of the role of sound in defining the city in the context of Edinburgh

The surfeit of generic and place-specific sounds that exist in the urban environment contribute to what has been referred to as the soundscape. Within the built environment sound has the potential to create thresholds and acoustic territories that define and colour the experience and social functioning of inhabited spaces. In this research, a robust critical examination of the literature by prominent sound artists and theorists is used to illustrate how sound contributes to the urban experience. This is reinforced by primary research undertaken in the city of Edinburgh where the analysis and synthesis of these secondary sources is tested using bespoke soundworks to determine the ways in which sound contributes to our perception, reading and understanding of our physical environment. This research concludes by illustrating the potential for the future, technological development of the soundscape.

A new low temperature synthesis route of fraipontite (Zn,Al)3(Si,Al)2O5(OH)4

A low temperature synthesis method based on the decomposition of urea at 90°C in water has been developed to synthesise fraipontite. This material is characterised by a basal reflection 001 at 7.44 Å. The trioctahedral nature of the fraipontite is shown by the presence of a 06l band around 1.54 Å, while a minor band around 1.51 Å indicates some cation ordering between Zn and Al resulting in Al-rich areas with a more dioctahedral nature. TEM and IR indicate that no separate kaolinite phase is present. An increase in the Al content however, did result in the formation of some SiO2 in the form of quartz. Minor impurities of carbonate salts were observed during the synthesis caused by to the formation of CO32- during the decomposition of urea.

Synthesis and characterization of K2Ca5(SO4)6· H2O, the equivalent of görgeyite, a rare evaporite mineral

Görgeyite, K2Ca5(SO4)6··H2O, is a very rare monoclinic double salt found in evaporites related to the slightly more common mineral syngenite. At 1 atmosphere with increasing external temperature from 25 to 150 °C, the following succession of minerals was formed: first gypsum and K2O, followed at 100 °C by görgeyite. Changes in concentration at 150 °C due to evaporation resulted in the formation of syngenite and finally arcanite. Under hydrothermal conditions, the succession is syngenite at 50 °C, followed by görgyeite at 100 and 150 °C. Increasing the synthesis time at 100 °C and 1 atmosphere showed that initially gypsum was formed, later being replaced by görgeyite. Finally görgeyite was replaced by syngenite, indicating that görgeyite is a metastable phase under these conditions. Under hydrothermal conditions, syngenite plus a small amount of gypsum was formed, after two days being replaced by görgeyite. No further changes were observed with increasing time. Pure görgeyite showed elongated crystals approximately 500 to 1000 µ m in length. The infrared and Raman spectra are mainly showing the vibrational modes of the sulfate groups and the crystal water (structural water). Water is characterized by OH-stretching modes at 3526 and 3577 cm–1 , OH-bending modes at 1615 and 1647 cm–1 , and an OH-libration mode at 876 cm–1 . The sulfate 1 mode is weak in the infrared but showed strong bands at 1005 and 1013 cm–1 in the Raman spectrum. The 2 mode also showed strong bands in the Raman spectrum at 433, 440, 457, and 480 cm–1 . The 3 mode is characterized by a complex set of bands in both infrared and Raman spectra around 1150 cm–1 , whereas 4 is found at 650 cm–1.

Synthesis of profluorescent isoindoline nitroxides via palladium-catalysed Heck alkenylation

The synthesis of a new structural class of isoindoline nitroxides (aminoxyls), accessible via the palladium-catalysed Heck reaction, is presented. Reaction of the aryl bromoamine, 5-bromo-1,1,3,3-tetramethylisoindoline (4) or dibromoamine, 5,6-dibromo-1,1,3,3-tetramethylisoindoline (5) or the analogous bromonitroxides 6 and 7 with methyl acrylate gives the acrylate substituted tetramethylisoindoline amines 8 and 10 and nitroxides 12 and 14. Similarly, the reaction of the aryl bromides and dibromides 4–7 with methyl 4-vinylbenzoate gives the carboxystyryl substituted tetramethylisoindoline amines 9 and 11 and the analogous nitroxides 13 and 15. The carboxystyryl tetramethylisoindoline nitroxides demonstrate strongly suppressed fluorescence, which is revealed upon removal of the free radical by reduction or radical coupling.