The recent emergence of machine-learning based generative models for speech suggests a significant reduction in bit rate for speech codecs is possible. However, the performance of generative models deteriorates significantly with the distortions present in real-world input signals. We argue that this deterioration is due to the sensitivity of the maximum likelihood criterion to outliers and the ineffectiveness of modeling a sum of independent signals with a single autoregressive model. We introduce predictive-variance regularization to reduce the sensitivity to outliers, resulting in a significant increase in performance. We show that noise reduction to remove unwanted signals can significantly increase performance. We provide extensive subjective performance evaluations that show that our system based on generative modeling provides state-of-the-art coding performance at 3 kb/s for real-world speech signals at reasonable computational complexity.

The physical world consists of spatially varying media, such as the atmosphere and the ocean, in which light and sound propagates along non-linear trajectories. This presents a challenge to existing ray-tracing based methods, which are widely adopted to simulate propagation due to their efficiency and flexibility, but assume linear rays. We present a novel algorithm that traces analytic ray curves computed from local media gradients, and utilizes the closed-form solutions of both the intersections of the ray curves with planar surfaces, and the travel distance. By constructing an adaptive unstructured mesh, our algorithm is able to model general media profiles that vary in three dimensions with complex boundaries consisting of terrains and other scene objects such as buildings. Our analytic ray curve tracer with the adaptive mesh improves the efficiency considerably over prior methods. We highlight the algorithm's application on simulation of visual and sound propagation in outdoor scenes.

Linear modal synthesis methods have often been used to generate sounds for rigid bodies. One of the key challenges in widely adopting such techniques is the lack of automatic determination of satisfactory material parameters that recreate realistic audio quality of sounding materials. We introduce a novel method using prerecorded audio clips to estimate material parameters that capture the inherent quality of recorded sounding materials. Our method extracts perceptually salient features from audio examples. Based on psychoacoustic principles, we design a parameter estimation algorithm using an optimization framework and these salient features to guide the search of the best material parameters for modal synthesis. We also present a method that compensates for the differences between the real-world recording and sound synthesized using solely linear modal synthesis models to create the final synthesized audio. The resulting audio generated from this sound synthesis pipeline well preserves the same sense of material as a recorded audio example. Moreover, both the estimated material parameters and the residual compensation naturally transfer to virtual objects of different sizes and shapes, while the synthesized sounds vary accordingly. A perceptual study shows the results of this system compare well with real-world recordings in terms of material perception.

We present a novel hybrid approach that couples geometric and numerical acoustic techniques for interactive sound propagation in complex environments. Our formulation is based on a combination of spatial and frequency decomposition of the sound field. We use numerical wave-based techniques to precompute the pressure field in the near-object regions and geometric propagation techniques in the far-field regions to model sound propagation. We present a novel two-way pressure coupling technique at the interface of near-object and far-field regions. At runtime, the impulse response at the listener position is computed at interactive rates based on the stored pressure field and interpolation techniques. Our system is able to simulate high-fidelity acoustic effects such as diffraction, scattering, low-pass filtering behind obstruction, reverberation, and high-order reflections in large, complex indoor and outdoor environments and Half-Life 2 game engine. The pressure computation requires orders of magnitude lower memory than standard wave-based numerical techniques.

Accurately modeling the intrinsic material-dependent damping property for interactive sound rendering is a challenging problem. The Rayleigh damping model is commonly regarded as an adequate engineering model for interactive sound synthesis in virtual environment applications, but this assumption has never been rigorously analyzed. In this paper, we conduct a formal evaluation of this model. Our goal is to determine if auditory perception of material under Rayleigh damping assumption is 'geometry-invariant', i.e. if this approximation model is transferable across different shapes and sizes. First, audio recordings of same-material objects in various shapes and sizes are analyzed to determine if they can be approximated by the Rayleigh damping model with a single set of parameters. Next, we design and conduct a series of psychoacoustic experiments, in subjects evaluate if audio clips synthesized using the Rayleigh damping model are from the same material, when we alter the material, shape, and size parameters. Through both quantitative and qualitative evaluation, we show that the acoustic properties of the Rayleigh damping model for a single material is generally preserved across different geometries of objects consisting of homogeneous materials and is therefore a suitable, geometry-invariant sound model. Our study results also show that consistent with prior crossmodal expectations, visual perception of geometry can affect the auditory perception of materials. These findings facilitate the wide adoption of Rayleigh damping for interactive auditory systems and enable reuse of material parameters under this approximation model across different shapes and sizes, without laborious per-object parameter tuning.

We present a new interaction handling model for physics-based sound synthesis in virtual environments. A new three-level surface representation for describing object shapes, visible surface bumpiness, and microscopic roughness (e.g. friction) is proposed to model surface contacts at varying resolutions for automatically simulating rich, complex contact sounds. This new model can capture various types of surface interaction, including sliding, rolling, and impact with a combination of three levels of spatial resolutions. We demonstrate our method by synthesizing complex, varying sounds in several interactive scenarios and a game-like virtual environment. The three-level interaction model for sound synthesis enhances the perceived coherence between audio and visual cues in virtual reality applications.

We present a novel approach for synthesizing liquid sounds directly from visual simulation of fluid dynamics. Our approach takes advantage of the fact that the sound generated by liquid is mainly due to the vibration of resonating bubbles in the medium and performs automatic sound synthesis by coupling physically-based equations for bubble resonance with multiple fluid simulators. We effectively demonstrate our system on several benchmarks using a real-time shallow-water fluid simulator as well as a hybrid grid-SPH simulator.