[ODE] Contact sound generation

[George Birbilis]

the images in that paper look a bit like the ones in the work of that 
"Carlson" guy (with the fluid and the melting stuff). I remember his videos 
had realistic water sound and he was mentioning the sounds were created by 
somebody else (don't remember the sound guy's name, but it may be the same 
one as in the paper below)

> 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.
>> > >
>> > >
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>> >
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