[ODE] Contact sound generation

[Gary R. Van Sickle]

This paper is AWESOME.  I hadn't even considered something like this to be
even remotely possible (except in very rarified cases).  Thanks!

-- 
Gary R. Van Sickle
 
> On a somewhat-related note, this paper talks about generating 
> sound effects automatically from a rigid-body simulation.  He 
> uses something called modal analysis (which requires 
> tesselating each object into a mesh of tetrahedra and 
> calculating some special matrices per object
> beforehand) to synthesize sounds on the fly (i.e. no 
> pre-recorded sound files at all).  I saw this talk at the GDC 
> 2004 which was mainly about deformation and fracture using 
> the same technique.  It was pretty impressive.
> 
> http://www.gdconf.com/archives/2004/obrien_james_04.pdf
> 
> Tyler
> 
> On Thu, 4 Nov 2004 12:04:59 -0000, Bob Dowland 
> <bob.dowland at blue52.co.uk> wrote:
> > might there be some way to tie in surface/structural props..?
> > 
> > ie friction and restitution coefficients - I've not had a 
> chance to try this yet but it occurred to me that one might 
> be able to set up some correspondence between restitution and 
> "loudness" on the basis of some very simple model like "the 
> energy that is disipated should become sound", maybe friction 
> coeff could also be making a contribution to frequency say... 
> one could perhaps increase the realism (in the direction of a 
> decent approx) by having some representation of the bodies 
> material makeup, I'm thinking along the lines of things like 
> natural frequency / resonance etc..
> > 
> > what makes a sound other than frequency and loudness..? 
> could a sound signature be concocted on the fly like this?
> > 
> > 
> > 
> > 
> > > -----Original Message-----
> > > From: Jon Watte [mailto:hplus-ode at mindcontrol.org]
> > > Sent: 04 November 2004 01:20
> > > To: Megan Fox
> > > Cc: Will Thimbleby; ode at q12.org
> > > Subject: RE: [ODE] Contact sound generation
> > >
> > >
> > >
> > > But two boxes sliding against each other would still make 
> two sounds 
> > > for the one contact, whereas a box sliding on gravel and 
> on metal at 
> > > the same time would only make one sound.
> > >
> > > Thus, I prefer keeping a hash table of <object,object> tuples and 
> > > keep object pair sound data in that table. When objects 
> stop making 
> > > noise, they go away from this table so that repeated bouncing can 
> > > still make repeated sounds.
> > >
> > > Anyway, both ways will work :-)
> > >
> > > Cheers,
> > >
> > >                       / h+
> > >
> > >
> > > -----Original Message-----
> > > From: Megan Fox [mailto:shalinor at gmail.com]
> > > Sent: Wednesday, November 03, 2004 3:22 PM
> > > To: Jon Watte
> > > Cc: Will Thimbleby; ode at q12.org
> > > Subject: Re: [ODE] Contact sound generation
> > >
> > >
> > > To get around the multiple sound problem (6 different 
> contacts per 
> > > object per scene, or whatever), as well as the stacking sounds 
> > > problem (one at full volume, then the next frame, one at slightly 
> > > less volume, etc - spirals out quickly), you might consider sound 
> > > states rather than just generating sounds.
> > >
> > >
> > > _______________________________________________
> > > ODE mailing list
> > > ODE at q12.org
> > > http://q12.org/mailman/listinfo/ode
> > >
> > 
> > _______________________________________________
> > ODE mailing list
> > ODE at q12.org
> > http://q12.org/mailman/listinfo/ode
> >
> _______________________________________________
> ODE mailing list
> ODE at q12.org
> http://q12.org/mailman/listinfo/ode