1 / 18

Introduction to Synthesis for Interactive Applications

Learn about additive, subtractive, FM synthesis, spectral resynthesis, granulation, and more for creating immersive game audio. Discover how synthesis methods can be combined to generate real-time, parametric, and generative audio. Explore the flexibility of layering sounds and simulating both sci-fi and real-world environments.

jillmcmillan
Download Presentation

Introduction to Synthesis for Interactive Applications

An Image/Link below is provided (as is) to download presentation Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author. Content is provided to you AS IS for your information and personal use only. Download presentation by click this link. While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server. During download, if you can't get a presentation, the file might be deleted by the publisher.

E N D

Presentation Transcript

  1. London AES Feb 2009 Introduction to Synthesis for Interactive Applications Leonard J. Paul Lotus Audio Video Game Audio.com

  2. Overview • Additive, Subtractive & FM • Speech Synthesis • Spectral Resynthesis • Sampling • Modal Synthesis • Granulation • Physical Modelling London AES Feb 2009

  3. Synthesis for 7th Gen Video Games • Generate audio in real-time based on rules • Has been used in games since the beginning • Parametric, generative & real-time (ie. flexible) • Can combine methods • Allow flexibility of layers instead of stereo bounce London AES Feb 2009

  4. Basic Synthesis • Additive & Subtractive Synthesis, Frequency Modulation (FM), Wavetable Synthesis • Good for sci-fi sounds, “sweeteners”, electronic music and retro sound design • Can also be creatively used to simulate real-world sounds Crash  Engine  Explosion  Ouch  London AES Feb 2009

  5. Additive Synthesis • Add simple (sine, triangle...) waves together London AES Feb 2009

  6. Subtractive Synthesis • Take a complex waveform and filter it • That classic “analogue” sound London AES Feb 2009

  7. Frequency Modulation Synthesis • Modulate frequency of one wave by another at an audio rate • Yamaha DX7, PC Adlib or Sega Genesis London AES Feb 2009

  8. Sampling • Wavetable synthesis is a short looping sample • Multi-sampling is a collection of samples • Good generality and control but RAM intensive and difficult to parametrise • Pervasive in games today • Possibly use granulation or other processing techniques to “bend” samples • Examples include Kontakt, Gigastudio... London AES Feb 2009

  9. Speech Synthesis • A collection of methods: • Concatenative, Linear Predictive Coding(LPC), Formant Synthesis... • Current research examines dialects and accents • Vocaloid product utilises speech “fonts” to base synthesis in an existing voice style London AES Feb 2009

  10. Spectral Resynthesis • Examine Short Time Fourier transform (STFT) and resynthesize with different parameters • Allows for morphing, time warping and pitch shifting • Often has difficulty preserving transients London AES Feb 2009

  11. Physical Modeling • Model sound production and propagation • Difficult as each model is specific • Good for metal, instruments, swords and more London AES Feb 2009

  12. Precomputed Acoustic Transfer • Optimization of almost 7000x over brute force • Find out radiant audio from modes • Good for plastic and metal objects London AES Feb 2009

  13. Modal Synthesis • Examine the modes or resonances of a material and model them • Good for wood, plastic and metal impacts London AES Feb 2009

  14. Granulation • Segment a sound into grains and reconstruct • Transients lost due to enveloping and mixing • Presegment to preserve transients • Can spacialise grains in surround London AES Feb 2009

  15. Concatenative Synthesis • Uses grains of one sound to approximate the original sound, like an “audio mosaic” • Reconstructs sample using a different set of grains and metrics to find close grain matches London AES Feb 2009

  16. Related Topics Parameter control • From physics, massage inputs, complex data DSP Effects • 3D waveguide for reverb, wavetracing... Optimisation • Large issue, try precomputing London AES Feb 2009

  17. Links • Perry Cook - http://www.cs.princeton.edu/~prc/ • Curtis Roads - http://clang.mat.ucsb.edu • PAT - http://graphics.cs.cmu.edu/projects/pat/ • http://www.procedural-audio.com London AES Feb 2009

  18. Questions ? info { at } VideoGameAudio.com VideoGameAudio.com London AES Feb 2009

More Related