Survey and implications for the design of new 3D audio production and authoring tools

  • Justin Dan Mathew
  • Stéphane Huot
  • Brian F. G. Katz
Survey
  • 37 Downloads

Abstract

3D audio production tools vary from low-level programming libraries to higher-level user interfaces that are used across a wide range of applications. However, many of the user interfaces for authoring 3D audio parameters are underdeveloped, forcing users to resort to ad hoc solutions with other tools or programming languages. Identifying these limitations and custom methods are needed to inform the development of new user interfaces. Towards this end, an on-line survey was conducted with current practitioners to gather ethnographic information on their tools, methods, and opinions. Results of the survey revealed specific methods and limitations within authoring techniques and 3D audio production with regards to Audio Rendering and Recording, Visual Feedback, Functionality, and Workflow Integration. These results also shed light on three basic tasks that have to be performed interactively with 3D audio production tools: Defining the Rendering Space, Creation and Manipulation of Audio Objects, and Monitoring with Audio/Visual Feedback. This classification helps identifying the needs for 3D audio tools that address issues within the workflow and low-level functionality of systems.

Keywords

3D audio User interfaces HCI Survey 

References

  1. 1.
    Boutard G, Guastavino C (2012) Archiving electroacoustic and mixed music. J Doc 68(6):749–771CrossRefGoogle Scholar
  2. 2.
    Carrascal J, Jordà S (2011) Multitouch interface for audio mixing. In: Proceedings of the international conference on new interfaces for musical expression (NIME’11)Google Scholar
  3. 3.
    Churnside A, Pike C, Leonard M (2011) Musical movements-gesture based audio interfaces. In: Proceedings of the 131st Audio Engineering Society ConventionGoogle Scholar
  4. 4.
    Favory X, Garcia J, Bresson J (2015) Trajectoires: a mobile application for controlling and composing sound spatialization. In: Proceedings of the 27ème Confrence Francophone sur l’Interaction Homme-Machine. ACMGoogle Scholar
  5. 5.
    Garcia J, Bresson J, Carpentier T (2015) Towards interactive authoring tools for composing spatialization. In: Proceedings of the IEEE symposium on 3D user interfaces (3DUI), pp 151–152Google Scholar
  6. 6.
    Geier M, Ahrens J, Spors S (2008) The SoundScape Renderer: a unified spatial audio reproduction framework for arbitrary rendering methods. In: Proceedings of the 124th Audio Engineering Society ConventionGoogle Scholar
  7. 7.
    Geier M, Ahrens J, Spors S (2010) Object-based audio reproduction and the audio scene description format. Organ Sound 15:219–227CrossRefGoogle Scholar
  8. 8.
    Gelineck S, Korsgaard D (2015) An exploratory evaluation of user interfaces for 3d audio mixing. In: Proceedings of the 138th Audio Engineering Society ConventionGoogle Scholar
  9. 9.
    Gelineck S, Overholt D (2015) Haptic and visual feedback in 3D audio mixing interfaces. In: Proceedings of the 9th audio mostly conference: a conference on interaction with sound. ACM, pp 14:1–14:6Google Scholar
  10. 10.
    Jot JM (2012) Spatialisateur Ircam/Espaces Nouveaux User Manual. IRCAM, http://forumnet.ircam.fr/wp-content/uploads/2012/10/Spat4-UserManual1.pdf. Updated by Rama Gottfried
  11. 11.
    Kendall GS (1995) A 3-D sound primer: Directional hearing and stereo reproduction. Comput Music J 19(4):23–46CrossRefGoogle Scholar
  12. 12.
    Mackay W (2004) The interactive thread: exploring methods for multi-disciplinary design. In: Proceedings of the conference on designing interactive systems (DIS ’04), ACM, pp 103–112Google Scholar
  13. 13.
    Mathew J, Huot S, Blum A (2014) A morphological analysis of audio-objects and their control methods for 3d audio. In: Proceedings of the international conference on new interfaces for musical expression (NIME ’14)Google Scholar
  14. 14.
    Melchior F, Pike C, Brooks M, Grace S (2013) On the use of a haptic feedback device for sound source control in spatial audio systems. In: Proceedings of the 134th Audio Engineering Society ConventionGoogle Scholar
  15. 15.
    Norman DA (2013) The design of everyday things: revised and expanded edition. Basic BooksGoogle Scholar
  16. 16.
    Peters N, Marentakis G, McAdams S (2011) Current technologies and compositional practices for spatialization: a qualitative and quantitative analysis. Comput Music J 35(1):10–27CrossRefGoogle Scholar
  17. 17.
    Pulkki V (1997) Virtual sound source positioning using vector base amplitude panning. J Audio Eng Soc (JAES) 45(6):456–466Google Scholar
  18. 18.
    Terry M, Mynatt ED (2002) Recognizing creative needs in user interface design. In: Proceedings of the 4th conference on creativity and cognition (C&C ’02). ACM, pp 38–44Google Scholar
  19. 19.
    Wessel D, Wright M (2002) Problems and prospects for intimate musical control of computers. Comput Music J 26(3):11–22CrossRefGoogle Scholar

Copyright information

© SIP 2017

Authors and Affiliations

  • Justin Dan Mathew
    • 1
  • Stéphane Huot
    • 2
  • Brian F. G. Katz
    • 3
  1. 1.Mjolnir Team, Audio Acoustique, Inria Lille-Nord EuropeLIMSI-CNRS, UniversitÉ Paris-SaclayVilleneuve-d’AscqFrance
  2. 2.Mjolnir TeamInria Lille-Nord EuropeVilleneuve-d’AscqFrance
  3. 3.Audio AcoustiqueLIMSI-CNRSOrsayFrance

Personalised recommendations