• Proceedings of the Korean Society for Noise and Vibration Engineering Conference
• /
• 2012.10a
• /
• pp.454-455
• /
• 2012

• The Journal of the Korea Contents Association
• /
• v.13 no.5
• /
• pp.1-8
• /
• 2013

Focused on the fact that sound is one of the important sensory cues delivering situations such as impact, this paper proposes an auditory interaction design approach for virtual environment. Based on a few sampling of basic material sound for various materials such as steel, rubber, and glass, the proposed method enables design transformations of the basic sound by allowing modification of mode gains that characterize natural sound for the material. In real-time virtual environment, it also provides simulation of modified sound according to the change of impact situation's perceptual properties such as colliding objects' size, hardness, contacting area, and speed. The test results on cognition experiment for discriminating objects' materials and impact situation by sound showed the feasibility of proposed auditory interaction design method.

• Journal of Korea Multimedia Society
• /
• v.13 no.11
• /
• pp.1728-1738
• /
• 2010

Pyeon-gyeong, similar to Chinese Bianqing, is a Korean traditional lithophone with multiple stone chimes. Due to the temperature- and humidity-insensitive characteristics of its material, pumice stone, the instrument provides highly stable pitch and therefore has played a key role in Korean traditional court music. By reason of having absolute pitch, it is an important part of the research on the standard pitch and scale system of korean traditional music, but as an instrument, the study on the sound characteristics and worth is not making satisfactory progress, to date. This research is an analysis paper for physical modeling synthesis of pyeongyeong. Through this study, we will determine the original characteristics of the timbre of pyeongyeong as a unique korean traditional percussion, and investigate these characteristics objectively, based on the music acoustics by scientific analysis. Furthermore, this study will be used as an important basic material for physical modeling synthesis of pyeongyeong, and also make a huge contribution to the cultural applicability by the vitalization of graft onto the various artistic creation field, through the comprehension of the timbre of pyeongyeong as an instrument.

• Proceedings of the IEEK Conference
• /
• 2003.07d
• /
• pp.1363-1366
• /
• 2003

This paper introduces computerized version of Hangout(Korean Language) Standard Pronunciation Rule that can be used in Korean processing systems such as Korean voice synthesis system and Korean voice recognition system. For this purpose, we build Petri net models for each items of the Standard Pronunciation Rule, and then integrate them into the vocal sound conversion table. The reversion of Hangul Standard Pronunciation Rule regulates the way of matching vocal sounds into grammatically correct written characters. This paper presents not only the vocal sound conversion table but also character conversion table obtained by reversely converting the vocal sound conversion table. Making use of these tables, we have implemented a Hangeul character into a vocal sound system and a Korean vocal sound into character conversion system, and tested them with various data sets reflecting all the items of the Standard Pronunciation Rule to verify the soundness and completeness of our tables. The test results shows that the tables improves the process speed in addition to the soundness and completeness.

• The Journal of the Acoustical Society of Korea
• /
• v.28 no.6
• /
• pp.526-533
• /
• 2009

This paper proposes a formant synthesis method of Haegeum sounds using cepstral envelope for spectral modeling. Spectral modeling synthesis (SMS) is a technique that models time-varying spectra as a combination of sinusoids (the "deterministic" part), and a time-varying filtered noise component (the "stochastic" part). SMS is appropriate for synthesizing sounds of string and wind instruments whose harmonics are evenly distributed over whole frequency band. Formants extracted from cepstral envelope are parameterized for synthesis of sinusoids. A resonator by Impulse Invariant Transform (IIT) is applied to synthesize sinusoids and the results are bandpass filtered to adjust magnitude. The noise is calculated by first generating the sinusoids with formant synthesis, subtracting them from the original sound, and then removing some harmonics remained. Linear interpolation is used to model noise. The synthesized sounds are made by summing sinusoids, which are shown to be similar to the original Haegeum sounds.

• Proceedings of the Korean Society for Noise and Vibration Engineering Conference
• /
• 2003.05a
• /
• pp.1009-1009
• /
• 2003

VIPER a new tool for the VIsual PERception of sound quality and for sound design will be presented. Requirement for the visualization of sound quality is a signal analysis modeling the information processing of the ear. The first step of the signal processing implemented in VIPER, calculates an auditory spectrogram by a filter bank adapted to the time- and frequency resolution of the human ear. The second step removes redundant information by extracting time- and frequency contours from the auditory spectrogram in analogy to contours of the visual system. In a third step contours and/or auditory spectrogram can be resynthesised confirming that only aurally relevant information were extracted. The visualization of the contours in VIPER allows intuitively to grasp the important components of a signal. Contributions of parts of a signal to the overall quality can be easily auralized by editing and resynthesising the contours or the underlying auditory spectrogram. Resynthesis of time contours alone allows e.g. to auralize impulsive components separately from the tonal components. Further processing of the contours determines tonal parts in form of tracks. Audible differences between two versions of a sound can be visually inspected in VIPER through the help of auditory distance spectrograms. Applications are shown for the sound design of several interior noises of cars.

• Proceedings of the Korean Society for Noise and Vibration Engineering Conference
• /
• 2005.11a
• /
• pp.930-935
• /
• 2005

In order to synthesis of the materials and modulus for floor impact sound reduction, we investigated effect on dynamic elastic modulus of floor impact sound reduction materials and module made by inorganic porous materials, EVA chips and so on. We find correlation property between dynamic elastic modulus and light-weight impact noise. And we measured the dynamic elastic modulus of materials and module for floor impact sound reduction. And we predicted reduction efficiency on floor Impact Noise of those. The dynamic elastic modulus is reduced by increase of filler contents and filler species. When the materials for floor impact sound reduction is consisted of l5wt% EVA Chip and l5wt% inorganic porous materials, its dynamic elastic material is the lowest. And when the module is consisted of PE (upper side), PS embossing board(lower side) and the materials for floor impact sound reduction(middle), its dynamic elastic material is the lowest.

• Journal of the Korea Society of Computer and Information
• /
• v.18 no.8
• /
• pp.1-8
• /
• 2013

This paper proposes an effective parallel implementation of a physical modeling synthesis of guitar on the GPU environment. We used appropriate filter coefficients and adjusted the length of delay line for each open string to generate 44,100 six-polyphonic guitar sounds (E2, A2, D3, G4, B3, E4) by using physical modeling synthesis. In addition, we analyzed the physical modeling synthesis algorithm and observed that we can exploit parallelism inherent in the length of delay line. Thus, we assigned CUDA cores as many as the length of delay line and effectively implemented the physical modeling synthesis using GPU to achieve the highest performance. Experimental results indicated that synthetic guitar sounds using GPU were very similar to the original sounds when we compared their spectra. In addition, GPU achieved 68x and 3x better performance than high-performance TI DSP and CPU, respectively. Furthermore, this paper implemented and evaluated the performance of multi-GPU systems for the physical modeling algorithm.

• Proceedings of the Korean Society of Computer Information Conference
• /
• 2012.07a
• /
• pp.1-2
• /
• 2012

본 논문에서는 GPU 컴퓨팅 환경에서 물리적 모델링 기반의 음 합성 알고리즘을 수행하는 경우에 GPU의 개수에 따른 성능 및 에너지 효율의 변화를 분석한다. 실험결과, 6개의 GPU를 사용하였을 때 가장 좋은 성능을 보였으며, 1개의 GPU에서 가장 높은 에너지 효율을 보였다.

• KSII Transactions on Internet and Information Systems (TIIS)
• /
• v.15 no.5
• /
• pp.1590-1609
• /
• 2021

Laughter is one of the most important nonverbal sound that human generates. It is a means for expressing his emotions. The acoustic and contextual features of this specific sound are different from those of speech and many difficulties arise during their modeling process. During this work, we propose an audio laughter generation system based on unsupervised generative models: the autoencoder (AE) and its variants. This procedure is the association of three main sub-process, (1) the analysis which consist of extracting the log magnitude spectrogram from the laughter database, (2) the generative models training, (3) the synthesis stage which incorporate the involvement of an intermediate mechanism: the vocoder. To improve the synthesis quality, we suggest two hybrid models (LSTM-VAE, GRU-VAE and CNN-VAE) that combine the representation learning capacity of variational autoencoder (VAE) with the temporal modelling ability of a long short-term memory RNN (LSTM) and the CNN ability to learn invariant features. To figure out the performance of our proposed audio laughter generation process, objective evaluation (RMSE) and a perceptual audio quality test (listening test) were conducted. According to these evaluation metrics, we can show that the GRU-VAE outperforms the other VAE models.