Soundhack binaural9/20/2023 (If you want details, you’d have to talk to Martha). There’s a few techniques out that I know of are wavefield synthesis and ambisonic audio. And something that’s really cool right now in the world of audio development is spatial audio speaker systems. The ability to feel the sounds - the audio experience you get when you go see a concert or movie. ( Barbershop example – LISTEN WITH HEADPHONES) And this is the standard for creating VR audio.īut, as awesome as headphone binaural audio is, there is a level of the audio experience that is impossible to recreate with headphones. Taking advantage of how our brain processes audio, we can recreate the feeling directionality + distance to a much higher degree than stereo audio. The sound of an experience becomes infinitely more important, because it’s now used to direct people’s attention without being too intrusive. So, now considering VR – a medium where you’re not able to dictate exactly what you want to show to the audience. On the other hand, our auditory perception can’t be shut off - the brain is constantly processing the sounds around you - and we’re able to extract a lot of information from it - to the degree that you can tell which direction, its distance, and the size of the space around the audio source. Even in reality, the hi-resolution portion of our vision is only about 1-2 degrees (about the size of your thumbnail at arms-length). The soundscape of a scene often tells you what’s happening in the world of the film outside of what the camera is showing you. There’s a saying (and it differs slightly between individuals) but: The visuals account for 30% of the experience, the rest depends on the audio. In a crash crash scene, often times thunder rolls or lion roars are mixed in to trigger the primal reactions to those sounds in our unconscious minds, to add intensity into a car crash. In a film, it’s not the visuals that tell you what you’re supposed to feel at any moment, but the soundscape - the music, the foley sounds (that’re specifically chosen for a scene), the intonation of what characters sound like, and so much more. I love sound designing, especially for animated films, because it’s about world building. In this version: A few minor tweaks to SoundHack, the main one is that SDIF spectral files are now well supported.Something I’m really excited about the VR and AR mediums is the development of spatialized audio. au, ULaw, IMA4, TEXT and headerless (raw) soundfiles Read and write Sound Designer II, Audio IFC, Audio IFF, BICSF (IRCAM), DSP Designer, QuickTime/AIFF, Microsoft WAV (RIFF), NeXT.Change values in the soundfile header (sample rate, number of channels, loop points and marker info).Convert between different types of soundfiles with optional gain scaling and sample rate conversion.Record any size soundfile from the Macintosh sound input.Play almost any type of soundfile (including AU, AIFF and WAV).Save sonograms of your soundfile in QuickTimeô movies or convert QuickTime movies into sound by sonographic analysis.Use your own spectral algorithm with spectral analysis/resynthesis and the spectral assistant example code.Separate transient and steady-state components with the spectral extractor.Noise reduction, spectral expansion or compression with the spectral dynamics processor.Cross-synthesis between two soundfiles with soundfile convolution, ring modulation or spectral mutation. Time stretching or pitch shifting with the phase vocoder or varispeed.These functions make SoundHack invaluable to computer musicians, sound effects designers, multimedia artists, webmasters and anyone else who enjoys working with sound. It performs many utility and esoteric sound processing functions available nowhere else. SoundHack is a soundfile processing program for the Macintosh.
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