and compelling sounds that correspond to the motions of rigid objects. By numerically precomputing the shape and frequencies of an object's deformation modes, audio can be synthesized interactively directly from the force data generated by a standard rigid-body simulation. Using sparse-matrix eigen-decomposition methods, the deformation modes can be computed efficiently even for large meshes. This approach allows us to accurately model the sounds generated by arbitrarily shaped objects based only on a geometric description of the objects and a handful of material parameters. We validate our method by comparing results from a simulated set of wind chimes to audio measurements taken from a real set.

The PebbleBox and the CrumbleBag are examples of a granular interaction paradigm, in which the manipulation of physical grains of arbitrary material becomes the basis for interacting with granular sound synthesis models. The sounds made by the grains as they are manipulated are analysed, and parameters such as grain rate, grain amplitude and grain density are extracted. These parameters are then used to control the granulation of arbitrary sound samples in real time. In this way, a direct link is made between the haptic sensation of interacting with grains and the control of granular sounds.

Simulating sounds produced by realistic vibrating objects is challenging because sound radiation involves complex diffraction and interreflection effects that are very perceptible and important. These wave phenomena are well understood, but have been largely ignored in computer graphics due to the high cost and complexity of computing them at audio rates.

This paper discusses an evolution in North Indian instruments in the designing of technology to capture gestures from a performing artist. Modified traditional instruments use sensor technology and microcontrollers to digitize gestures, enabling a computer to analyze performance to synthesize sound and visual meaning. Specifically, systems were built to capture data from three traditional North Indian instruments: the tabla (a pair of tonal hand drums), the dholak (a barrel shaped folk drum played by two people), and the sitar (a 19-stringed, gourd-shelled instrument). This paper will discuss how these instruments are modified to capture gestural movement, how these signals are mapped to sounds and graphical feedback, and show examples of the new instruments being used in live performance. The hardware is built to try and preserve the techniques passed down from generations of tradition; however, modified performance techniques with the aid of a laptop are also introduced. 1

This article describes banded waveguides, a way of synthesizing sounds made by solid objects and an alternative method for treating two- and three-dimensional objects. It belongs to the synthesis algorithms known as physical models, and in particular, it is a departure from waveguide synthesis. Physical modeling of musical instruments is a synthesis technique that is well established in computer music. Physical models are historically related to computationally expensive algorithms (Ruiz 1969) but have become more efficient with faster methods such as waveguide synthesis (Smith 2003). Digital waveguide models provide discretetime models of distributed media such as vibrating strings, bores, horns, and plates. We begin by outlining related synthesis methods with emphasis on traditional waveguide synthesis, which motivated the creation of this new structure. To simulate sustained and transient excitations such as striking, bowing, and rubbing, different excitation models are also proposed in this article. Instruments that have been modeled

An example of aerodynamic sound generated by swinging swords. Sound wave (below) is computed based on the motion and shape of the swords. The motion blur is artificially added to visualize the motion of the swords. In computer graphics, most research focuses on creating images. However, there has been much recent work on the automatic generation of sound linked to objects in motion and the relative positions of receivers and sound sources. This paper proposes a new method for creating one type of sound called aerodynamic sound. Examples of aerodynamic sound include sound generated by swinging swords or by wind blowing. A major source of aerodynamic sound is vortices generated in fluids such as air. First, we propose a method for creating sound textures for aerodynamic sound by making use of computational fluid dynamics. Next, we propose a method using the sound textures for real-time rendering of aerodynamic sound according to the motion of objects or wind velocity. CR Categories: I.3.7 [Computer Graphics]: Three-Dimensional

This thesis proposes banded waveguide synthesis as an approach to real-time sound synthesis based on the underlying physics. So far three main approaches have been widely used: digital waveguide synthesis, modal synthesis and finite element methods. Digital waveguide synthesis is efficient and realistic and captures the complete dynamics of the underlying physics but is restricted to instruments that are well-described by the one-dimensional string equation. Modal synthesis is efficient and realistic yet abandons complete dynamical description and hence cannot used for certain types of performance interactions like bowing. Finite element methods are realistic and capture the behavior of the constituent physical equations but on current commodity hardware does not perform in real-time. Banded waveguides offer efficient simulations for cases for which modal synthesis is appropriate but traditional digital waveguide synthesis is not applicable. The key realization is that the dynamic behavior of traveling waves, which is being used in waveg-uide synthesis, can be applied to individual modes and that the efficient computational

HyperPuja is a novel controller that closely mimicks the behavior of a Tibetan Singing Bowl rubbed with a "puja" stick. Our design hides the electronics from the performer to maintain the original look and feel of the instrument and the performance. This is achieved by using wireless technology to keep the stick un-tethered as well as burying the electronics inside the the coreofthestick. Themeasured parameters closelyresemble the input parameters of a related physical synthesis model allowing for convenient mapping of sensor parameters to synthesis input. The new controller allows for flexible choice of sound synthesis while fully maintaining the characteristics of the physical interaction of the original instrument.

Mobile audio-enabled technology is a commodity by now. However access to these technologies for audio research, algorithmic synthesis and interactive performance is currently limited. We describe an effort to port the Synthesis Toolkit (STK) developed by Perry Cook and Gary Scavone to the Symbian operating system, which is used by a number of mobile phone manufacturers.

Three types of ecological events (crushing, walking and running) have been considered. Their acoustic properties have been modeled following the physics-based approach. Starting from an existing physically-based impact model, we superimposed to it the dynamic and temporal stochastic characteristics governing crushing events. The resulting model was triggered by control rules realizing typical walking and running time patterns. This bottom-up design strategy was made possible because the sound synthesis and sound control models could be directly connected each other via a common switchboard of driving and control parameters. The existence of a common interface specification for all the models follows from the application of physics-based modeling, and translates in major advantages when those models are implemented as independent, self-contained blocks and procedures connected together in real-time inside a sw architecture like pd. 1.