[ODE] Contact sound generation

[Bob Dowland]

Thanks for that ref Tyler - 

> modal analysis

looks like the fella... the link with "deformation & fracture" is a good sign too.

Apologies for any "topic-drift" there.

:)

Bob.

> -----Original Message-----
> From: Tyler Streeter [mailto:tylerstreeter at gmail.com]
> Sent: 04 November 2004 15:25
> To: ode at q12.org
> Subject: Re: [ODE] Contact sound generation
> 
> 
> 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.
> > >
> > >
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> > >
> > 
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