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Kyle Hiebel

dblp:280/1588 · DBLP profile ↗
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1ranked-venue papers
0as first author
0since 2021 · last 2020
—ORCID · none

Domains — the database's venue-derived domains; a paper can count in several

Graphics, computer vision, multimedia, augmented reality and games · 1

Expertise — from the expertise taxonomy: the topics of the expert's papers under the CCF categories. A weight counts papers with recency: 1 for a paper about the topic, 0.3 when the topic is its context, halved every five years.

Computer graphics and multimedia
1 paper
Audio and music processing · 91% Rendering · 9%

Topics — the 4 heaviest of 4, each with the papers that count most for it

TopicWeightPapersLastEvidence papers
Audio and music processing › spatial audio
head-related transfer function
0.412020
Real-time rendering of decorative sound textures for soundscapes · ACM Trans. Graph. 2020
Audio and music processing
sound synthesis
0.412020
Real-time rendering of decorative sound textures for soundscapes · ACM Trans. Graph. 2020
Audio and music processing
spatial audio
0.412020
Real-time rendering of decorative sound textures for soundscapes · ACM Trans. Graph. 2020
Rendering
real-time rendering
0.112020
Real-time rendering of decorative sound textures for soundscapes · ACM Trans. Graph. 2020

Methods — techniques the papers use, named apart from their topics

sound texture synthesis · 0.4markov model · 0.4HRTF · 0.4
YearPublicationVenuePosition
2020 Real-time rendering of decorative sound textures for soundscapes
abstract
Audio recordings contain rich information about sound sources and their properties such as the location, loudness, and frequency of events. One prevalent component in sound recordings is the sound texture, which contains a massive number of events. In such a texture, there can be some distinct and repeated sounds that we term as a foreground sound. Birds chirping in the wind is one such decorative sound texture with the chirping as a foreground sound and the wind as a background texture. To render these decorative sound textures in real-time and with high quality, we create two-layer Markov Models to enable smooth transitions from sound grain to sound grain and propose a hierarchical scheme to generate Head-Related Transfer Function filters for localization cues of sounds represented as area/volume sources. Moreover, during the synthesis stage, we provide control over the frequency and intensity of sounds for customization. Lastly, foreground sounds are often blended into background textures such as the sound of rain splats on car surfaces becoming submerged in the background rain. We develop an extraction component that outperforms existing learning-based methods to facilitate our synthesis with perceptible foreground sounds and well-defined textures.
Jinta Zheng, Shih-Hsuan Hung, Kyle Hiebel, Yue Zhang 0009
ACM Trans. Graph.3