Senses of front-back and upward-downward distances by reflected waves.Ī single channel block diagram of SoundObject is shown in Fig.
SoundObject source code distribution is licensed under Creative Commons Attribution-NonCommercial-ShareAlike 4.0 (CC BY-NC-SA 4.0) at no charge. SoundObject binary distribution is licensed under Creative Commons Attribution 4.0 (CC BY 4.0) at no charge.
OS environments are 64bit Windows 10 and macOS 10.14. SoundObject is provided as a VST 3 plug-in for digital audio workstations ( DAW) and supports 44.1KHz, 48KHz, and 96KHz sampling rates. Since 1m/s is never high speed, SoundObject constantly adds Doppler effect when an acoustic source is moving. This fact implies that the recognizable Doppler effect results from an acoustic source whose speed exceeds approximately 1m/s, where acoustic speed is 345m/s. Generally, sine waves whose frequency difference is 0.3% are distinguishable as different sounds.
Since the convolution consumes a large amount of computational resource, SoundObject assumes that scattering by a head consists of scattering by a rigid sphere and pinnae (earlobes), then enables sound localization with simplified sphere and pinna scattering effect filters.Īnd in many cases, conventional convolution-based binaural sound rarely creates a sense of front distance, while SoundObject enables it by reflected waves in a reverberation room.įurthermore, Doppler effect inevitably results from a moving acoustic source. Furthermore, it could also support headphones monitoring of stereo speakers sound.Ĭonventional three-dimensional binaural sound processors implement sound localization with the convolution of an acoustic source and head-related impulse response (HRIR) that represents scattering by the head. It supports headphones-based as well as stereo speakers-based 3D spatial sound. To experience the stereo or surround mix on this Music Disc you need VLC Media Player or a receiver that can decode DTS audio.SoundObject creates a binaural sound with the senses of three-dimensional sound localization from a monaural acoustic source and its positional information. It’s a procedure that the authors define as “transient drawing” and they combine it with the editing of extremely small sound-wave pieces. The clusters of musical “concretions” here seem then to self-organize, following internal algorithmic protocols. The authors underline a separation with the listener, indicating their refusal to create a work that “must” communicate. It’s a clear contrast because the project - with no frills - shows a definitive coherence, a terse power, but gives no clue to those not interested in structured audio technicalities. Perhaps this is a foil to certain less radical audio expressions, considering that Milani used to make a living as sound-editor for movies, radio and television.
Nervous sound structures (which are then modulated in the subsequent “Rebirth” section), elementary sound particles, cacophonies and granular sound frizzles consistently abuse the electronic medium. “Unidentified Sound Project” opens with a section entitled “Quantum Dripping” (three tracks), which relays their non-compromising sound research that deals with stylized interferences.