A Standard Audio API for C++: Motivation, Scope, and Basic Design
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Audio Middleware the Essential Link from Studio to Game Design
AUDIONEXT B Y A LEX A N D E R B R A NDON Audio Middleware The Essential Link From Studio to Game Design hen I first played games such as Pac Man and GameCODA. The same is true of Renderware native audio Asteroids in the early ’80s, I was fascinated. tools. One caveat: Criterion is now owned by Electronic W While others saw a cute, beeping box, I saw Arts. The Renderware site was last updated in 2005, and something to be torn open and explored. How could many developers are scrambling to Unreal 3 due to un- these games create sounds I’d never heard before? Back certainty of Renderware’s future. Pity, it’s a pretty good then, it was transistors, followed by simple, solid-state engine. sound generators programmed with individual memory Streaming is supported, though it is not revealed how registers, machine code and dumb terminals. Now, things it is supported on next-gen consoles. What is nice is you are more complex. We’re no longer at the mercy of 8-bit, can specify whether you want a sound streamed or not or handing a sound to a programmer, and saying, “Put within CAGE Producer. GameCODA also provides the it in.” Today, game audio engineers have just as much ability to create ducking/mixing groups within CAGE. In power to create an exciting soundscape as anyone at code, this can also be taken advantage of using virtual Skywalker Ranch. (Well, okay, maybe not Randy Thom, voice channels. but close, right?) Other than SoundMAX (an older audio engine by But just as a single-channel strip on a Neve or SSL once Analog Devices and Staccato), GameCODA was the first baffled me, sound-bank manipulation can baffle your audio engine I’ve seen that uses matrix technology to average recording engineer. -
Institut Für Musikinformatik Und Musikwissenschaft
Institut für Musikinformatik und Musikwissenschaft Leitung: Prof. Dr. Christoph Seibert Veranstaltungsverzeichnis für das Sommersemester 2021 Stand 9.04.2021 Vorbemerkung: Im Sommersemester 2021 werden Lehrveranstaltungen als Präsenzveranstaltungen, online oder in hybrider Form (Präsenzveranstaltung mit der Möglichkeit auch online teilzunehmen) durchgeführt. Die konkrete Durchführung der Lehrveranstaltung hängt ab von der jeweils aktuellen Corona-Verordnung Studienbetrieb. Darüber hinaus ausschlaggebend sind die Anzahl der Teilnehmerinnen und Teilnehmer, die maximal zulässige Personenzahl im zugewiesenen Raum und inhaltliche Erwägungen. Die vorliegenden Angaben hierzu entsprechen dem aktuellen Planungsstand. Für die weitere Planung ist es notwendig, dass alle, die an einer Lehrveranstaltung teilnehmen möchten, sich bis Mittwoch, 07.04. bei der jeweiligen Dozentin / dem jeweiligen Dozenten per E-Mail anmelden. Geben Sie bitte auch an, wenn Sie aufgrund der Pandemie-Situation nicht an Präsenzveranstaltungen teilnehmen können oder möchten, etwa bei Zugehörigkeit zu einer Risikogruppe. Diese Seite wird in regelmäßigen Abständen aktualisiert, um die Angaben den aktuellen Gegebenheiten anzupassen. Änderungen gegenüber früheren Fassungen werden markiert. Musikinformatik Prof. Dr. Marc Bangert ([email protected]) Prof. Dr. Paulo Ferreira-Lopes ([email protected]) Prof. Dr. Eckhard Kahle ([email protected]) Prof. Dr. Christian Langen ([email protected]) Prof. Dr. Damon T. Lee ([email protected]) Prof. Dr. Marlon Schumacher ([email protected]) Prof. Dr. Christoph Seibert ([email protected]) Prof. Dr. Heiko Wandler ([email protected]) Tobias Bachmann ([email protected]) Patrick Borgeat ([email protected]) Anna Czepiel ([email protected]) Dirk Handreke ([email protected]) Daniel Höpfner ([email protected]) Daniel Fütterer ([email protected]) Rainer Lorenz ([email protected]) Nils Lemke ([email protected]) Alexander Lunt ([email protected]) Luís A. -
Graphical Design of Physical Models for Real-Time Sound Synthesis
peter vasil GRAPHICALDESIGNOFPHYSICALMODELSFOR REAL-TIMESOUNDSYNTHESIS Masterarbeit Audiokommunikation und -technologie GRAPHICALDESIGNOFPHYSICALMODELS FORREAL-TIMESOUNDSYNTHESIS Implementation of a Graphical User Interface for the Synth-A-Modeler compiler vorgelegt von peter vasil Matr.-Nr.: 328493 Technische Universität Berlin Fakultät 1: Fachgebiet Audiokommunikation Abgabe: 25. Juli 2013 Peter Vasil: Graphical Design of Physical Models for Real-Time Sound Synthesis, Implementation of a Graphical User Interface for the Synth- A-Modeler compiler, © July 2013 supervisors: Prof. Dr. Stefan Weinzierl Dr. Edgar Berdahl ABSTRACT The goal of this Master of Science thesis in Audio Communication and Technology at Technical University Berlin, is to develop a Graph- ical User Interface (GUI) for the Synth-A-Modeler compiler, a text-based tool for converting physical model specification files into DSP exter- nal modules. The GUI should enable composers, artists and students to use physical modeling intuitively, without having to employ com- plex mathematical equations normally necessary for physical model- ing. The GUI that will be developed in the course of this thesis allows the creation of physical models with graphical objects for physical masses, links, resonators, waveguides, terminations, and audioout objects. In addition, this tool will be used to create a model for an Arabic oud to demonstrate its functionality. ZUSAMMENFASSUNG Das Ziel dieser Master Arbeit am Fachgebiet Audiokommunikation der TU Berlin, ist die Entwicklung einer graphischen Umgebung für die textbasierte Software, Synth-A-Modeler compiler, welche es erlaubt, ein speziell dafür entwickeltes Datei Format für physikalische Mod- elle, in externe DSP Module umzuwandeln. Die Software macht es Komponisten, Künstlern und Studenten möglich, physikalische Modellierung intuitiv zu anzuwenden, ohne die komplexen mathe- matischen Formeln, welche normalerweise für physikalische Model- lierung nötig sind, anwenden zu müssen. -
Foundations for Music-Based Games
Die approbierte Originalversion dieser Diplom-/Masterarbeit ist an der Hauptbibliothek der Technischen Universität Wien aufgestellt (http://www.ub.tuwien.ac.at). The approved original version of this diploma or master thesis is available at the main library of the Vienna University of Technology (http://www.ub.tuwien.ac.at/englweb/). MASTERARBEIT Foundations for Music-Based Games Ausgeführt am Institut für Gestaltungs- und Wirkungsforschung der Technischen Universität Wien unter der Anleitung von Ao.Univ.Prof. Dipl.-Ing. Dr.techn. Peter Purgathofer und Univ.Ass. Dipl.-Ing. Dr.techn. Martin Pichlmair durch Marc-Oliver Marschner Arndtstrasse 60/5a, A-1120 WIEN 01.02.2008 Abstract The goal of this document is to establish a foundation for the creation of music-based computer and video games. The first part is intended to give an overview of sound in video and computer games. It starts with a summary of the history of game sound, beginning with the arguably first documented game, Tennis for Two, and leading up to current developments in the field. Next I present a short introduction to audio, including descriptions of the basic properties of sound waves, as well as of the special characteristics of digital audio. I continue with a presentation of the possibilities of storing digital audio and a summary of the methods used to play back sound with an emphasis on the recreation of realistic environments and the positioning of sound sources in three dimensional space. The chapter is concluded with an overview of possible categorizations of game audio including a method to differentiate between music-based games. -
Audio Software Developer (F/M/X)
Impulse Audio Lab is an audio company based in the heart of Munich. We are an interdisciplinary team of experts in interactive sound design and audio software development, working on innovative and pioneering projects focused on sound. We are looking for a Software Developer (f/m/x) for innovative audio projects You are passionate about audio and DSP algorithms and want to work on new products and solutions. The combination of audio processing and e-mobility sounds exciting to you. You want to solve complex problems through state-of-the-art software solutions and apply your knowledge and expertise to all aspects of the software development lifecycle. What are you waiting for? These could be your future responsibilities: • Handling complex audio software projects, from conception and architecture to implementation • Working on both client-oriented projects as well as our own growing product portfolio • Development, implementation and optimization of new algorithms for processing and generating audio • Sharing your experiences and knowledge with your colleagues This should be you: • You are educated to degree level or have equivalent experience in relevant fields such as Electrical Engineering, Media Technology or Computer Science • You have multiple years of experience programming audio software in C/C++, using frameworks such as Qt or JUCE and Audio Plug-in APIs • You are a team player and are also comfortable taking responsibility for your own projects • You are able to work collaboratively, from requirements to acceptance and in the corresponding tool landscape (Git, unit testing, build systems, automation, debugging, etc.) This could be a plus: • You have programming experience on embedded architectures (e.g. -
Cross-Platform 1 Cross-Platform
Cross-platform 1 Cross-platform In computing, cross-platform, or multi-platform, is an attribute conferred to computer software or computing methods and concepts that are implemented and inter-operate on multiple computer platforms.[1] [2] Cross-platform software may be divided into two types; one requires individual building or compilation for each platform that it supports, and the other one can be directly run on any platform without special preparation, e.g., software written in an interpreted language or pre-compiled portable bytecode for which the interpreters or run-time packages are common or standard components of all platforms. For example, a cross-platform application may run on Microsoft Windows on the x86 architecture, Linux on the x86 architecture and Mac OS X on either the PowerPC or x86 based Apple Macintosh systems. A cross-platform application may run on as many as all existing platforms, or on as few as two platforms. Platforms A platform is a combination of hardware and software used to run software applications. A platform can be described simply as an operating system or computer architecture, or it could be the combination of both. Probably the most familiar platform is Microsoft Windows running on the x86 architecture. Other well-known desktop computer platforms include Linux/Unix and Mac OS X (both of which are themselves cross-platform). There are, however, many devices such as cellular telephones that are also effectively computer platforms but less commonly thought about in that way. Application software can be written to depend on the features of a particular platform—either the hardware, operating system, or virtual machine it runs on. -
Grierson, Mick and Fiebrink, Rebecca. 2018. User-Centred Design Actions for Lightweight Evaluation of an Interactive Machine Learning Toolkit
Bernardo, Francisco; Grierson, Mick and Fiebrink, Rebecca. 2018. User-Centred Design Actions for Lightweight Evaluation of an Interactive Machine Learning Toolkit. Journal of Science and Technology of the Arts (CITARJ), 10(2), ISSN 1646-9798 [Article] (In Press) http://research.gold.ac.uk/23667/ The version presented here may differ from the published, performed or presented work. Please go to the persistent GRO record above for more information. If you believe that any material held in the repository infringes copyright law, please contact the Repository Team at Goldsmiths, University of London via the following email address: [email protected]. The item will be removed from the repository while any claim is being investigated. For more information, please contact the GRO team: [email protected] Journal of Science and Technology of the Arts, Volume 10, No. 2 – Special Issue eNTERFACE’17 User-Centred Design Actions for Lightweight Evaluation of an Interactive Machine Learning Toolkit Francisco Bernardo Mick Grierson Rebecca Fiebrink Department of Computing Department of Computing Department of Computing Goldsmiths, University of London Goldsmiths, University of London Goldsmiths, University of London London SE14 6NW London SE14 6NW London SE14 6NW ----- ----- ----- [email protected] [email protected] [email protected] ----- ----- ----- ABSTRACT KEYWORDS Machine learning offers great potential to developers User-centred Design; Action Research; Interactive and end users in the creative industries. For Machine Learning; Application Programming example, it can support new sensor-based Interfaces; Toolkits; Creative Technology. interactions, procedural content generation and end- user product customisation. However, designing ARTICLE INFO machine learning toolkits for adoption by creative Received: 03 April 2018 developers is still a nascent effort. -
Design and Development of a Mixed Reality Application in the Automotive Eld
Politecnico di Torino Department of Control and Computer Engineering (DAUIN) Master Degree in Computer Engineering Design and development of a Mixed Reality application in the automotive eld Supervisors: Author: Prof. Maurizio Morisio Giovanna Galeano December 2017 Contents 1 Mixed Reality1 1.1 Real Environment . .2 1.2 Augmented Reality . .2 1.2.1 Augmented Reality (AR) Categories . .2 1.2.2 Key Components to Augmented Reality Devices . .3 1.2.3 AR headsets categories . .4 1.3 Augmented Virtuality . .5 1.4 Virtual Reality . .5 1.4.1 Virtual Reality (VR) Categories . .5 1.4.2 Key Components in a Virtual Reality System . .6 1.4.3 Key Components Inside of a Virtual Reality Headset . .7 1.4.4 Performance parameters . .8 2 Context 11 2.1 Technological scouting . 12 2.1.1 Automotive eld . 13 2.1.2 Other examples . 17 3 System design 23 3.1 Helmet-mounted display design features . 25 3.2 Devices Comparison . 28 3.2.0.1 Final considerations . 29 3.3 Architecture design . 32 4 Development environment 35 4.1 Game engine components . 36 4.2 Game engines for Mixed Reality . 37 4.2.1 Unreal Engine 4 . 37 4.2.2 CryEngine . 38 4.2.3 Unity . 39 4.2.4 Unity as nal choice . 41 4.2.4.1 ARToolkit SDK . 42 4.2.4.2 Vuforia SDK . 43 4.2.4.3 Wikitude . 44 1 5 Prototype design and development 46 5.1 HoloLens hardware review . 46 5.2 Hololens inputs . 48 5.3 Hololens emulator . 49 5.4 Development basics . -
Structural Equation Modeling Analysis of Etiological Factors in Social Anxiety
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1997 Structural Equation Modeling Analysis of Etiological Factors in Social Anxiety. Michele E. Mccarthy Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Mccarthy, Michele E., "Structural Equation Modeling Analysis of Etiological Factors in Social Anxiety." (1997). LSU Historical Dissertations and Theses. 6505. https://digitalcommons.lsu.edu/gradschool_disstheses/6505 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text direct^ from the original or copy submitted. Thus, some thesis and dissotation copies are in ^pewriter fiice; while others may be from aty type o f computer printer. The qnalltyr o f this rqirodnction is dependent npon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photogrtqihs, print bleedthrough, substandard margins, and improper alignment can adversely aflfect rq>roduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletioiL Oversize materials (e g., maps, drawings, charts) are reproduced by sectioning the original, b%inning at the upper left-hand comer and continuing from left to right in equal sections with small overiaps. -
Game Engine Anatomy 101, Part I April 12, 2002 By: Jake Simpson
ExtremeTech - Print Article 10/21/02 12:07 PM Game Engine Anatomy 101, Part I April 12, 2002 By: Jake Simpson We've come a very long way since the days of Doom. But that groundbreaking title wasn't just a great game, it also brought forth and popularized a new game-programming model: the game "engine." This modular, extensible and oh-so-tweakable design concept allowed gamers and programmers alike to hack into the game's core to create new games with new models, scenery, and sounds, or put a different twist on the existing game material. CounterStrike, Team Fortress, TacOps, Strike Force, and the wonderfully macabre Quake Soccer are among numerous new games created from existing game engines, with most using one of iD's Quake engines as their basis. click on image for full view TacOps and Strike Force both use the Unreal Tournament engine. In fact, the term "game engine" has come to be standard verbiage in gamers' conversations, but where does the engine end, and the game begin? And what exactly is going on behind the scenes to push all those pixels, play sounds, make monsters think and trigger game events? If you've ever pondered any of these questions, and want to know more about what makes games go, then you've come to the right place. What's in store is a deep, multi-part guided tour of the guts of game engines, with a particular focus on the Quake engines, since Raven Software (the company where I worked recently) has built several titles, Soldier of Fortune most notably, based on the Quake engine. -
Программирование На C++ С JUCE 4.2.X: Создание Кроссплатформенных Мультимедийных Приложений С Использованием Библиотеки JUCE На Простых Примерах
Программирование на C++ с JUCE 4.2.x: Создание кроссплатформенных мультимедийных приложений с использованием библиотеки JUCE на простых примерах Андрей Николаевич Кузнецов Linmedsoft 2016 2 Информация о книге Кузнецов А. Н. Программирование на C++ с JUCE 4.2.x: Создание кроссплатформенных мультимедийных приложений с использованием библиотеки JUCE на простых примерах. − Алматы: Linmedsoft, 2016. − 384 с.: илл. © А. Н. Кузнецов, 2016 Книга посвящена разработке приложений для Linux, Windows, Mac OS X и iOS на языке C++ с использованием кроссплатформенной библиотеки JUCE версии 4.2.x. Подробно рассмотрены возможности, предоставляемые этой библиотекой, а также практическое применение классов, входящих в её состав, на большом количестве простых, подробно прокомментированных примеров. Книга содержит пошаговую исчерпывающую информацию по созданию приложений JUCE различной степени сложности от простейших до мультимедийных. Все права защищены. Вся книга, а также любая её часть не может быть воспроизведена каким-либо способом без предварительного письменного разрешения автора, за исключением кратких цитат, размещённых в учебных пособиях или журналах. Первая публикация: 2011, издательство «Интуит» Linmedsoft, Алматы E-mail: [email protected] 3 Предисловие Со времени публикации моего онлайн курса «Разработка кроссплатформенных приложений с использованием JUCE», где рассматривались версии 1.5 и 2.0 библиотеки, было внесено значительное число изменений как в код её классов и методов, так и в инструменты, используемые для создания проектов. Автор JUCE, Julian Storer, наконец осуществил своё намерение объединить Introjucer и Jucer в единую среду разработки с возможностью визуального проектирования интерфейса. К сожалению, это привело к тому, что код, написанный для второй версии JUCE, не всегда может компилироваться с третьей версией библиотеки. В этой связи в этой книге были переписаны примеры, использованные в курсе-предшественнике, и добавлено описание работы с обновлённой средой Introjucer / Projucer. -
Laboratoire Sciences Et Technologies De La Musique Et Du Son (STMS) UMR 9912 Le Mot De La Direction
Laboratoire Sciences et technologies de la musique et du son (STMS) UMR 9912 Le mot de la direction Les activités de recherche accueillies à l’Ircam s’inscrivent dans le cadre de l’unité mixte de recherche (UMR 9912) Sciences et techno- logies de la musique et du son (STMS), associant aux côtés de l’Ircam le CNRS, Sorbonne Université et le ministère de la Culture. Le nouveau contrat quinquennal 2019-2023 vise à répondre à plu- sieurs défis : l’intégration de la recherche artistique dans les struc- tures universitaires et la montée en puissance des thématiques art-science (avec, par exemple, la création des doctorats en arts) ; la restructuration du paysage parisien de la recherche ; la lisibilité et l’accroissement de l’attractivité de l’unité ; l’évolution de l’éco- système d’innovation français et le renouvellement apporté par les nouvelles méthodes de l’intelligence artificielle. L’activité de recherche à STMS est portée par sept équipes et se dis- tribue sur trois axes structurants : l’atelier du son, le corps musicien et les dynamiques créatives. L’UMR s’appuie pour les aspects contractuels et d’innovation sur le département IMR de l’Ircam (Innovation et Moyens de la recherche, sous la responsabilité d’Hugues Vinet) avec en particulier la création par l’Ircam d’un nouvel instrument de valorisation, la filiale Ircam Amplify, qui permettra une diffusion plus large des technologies issues du laboratoire. Enfin, j’ai le plaisir de souligner que depuis le début du contrat quin- quennal, STMS a accueilli 4 nouvelles ERC, ainsi que 4 nouveaux projets ANR, un résultat remarquable qui témoigne de la grande dynamique du laboratoire.