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Institute
This study aims to compare two different implementations of speech emotion recognition models.The emphasis is directed towards evaluating their efficacy in capturing and characterizing dialogues
portrayed by actors within a film scene to create suitable musical intervals. The goal of the overarching research intends to derive indications to enhance the compositional process of film scores by recognizing the emotion in a particular scene. Based on established deep learning models, the study delves into the exploration of two distinct emotion classification metrics: The Six Emotion Prediction and the Valence/Arousal/Dominance Prediction. To facilitate a comparative analysis, a preliminary study an a following survey is deployed. The preliminary study confirms a significant difference in the generated MIDI data. For this reason, a survey is essential to detect the better fitting algorithm. Participants are tasked to rate the affective suitability of eight generated interval sequences to the corresponding film scenes. The Suitability is verified quantitatively using a bidirectional rating system. Both model assessments are conducted within a uniform sound design, thus ensuring unbiased conditions for evaluation. Upon a thorough examination of our extensive analysis, a preference for method A becomes increasingly evident.
This paper is based on the German-language paper "Methods for Designing UX Sounds", which was presented at DAGA 2023 in Hamburg. Future work was announced there to investigate the affective impact of UX-sounds. This article will present the framework for evaluating the affective impact of sounds in the dimensions "valence" and "arousal". The experimental setup, the experimental execution and the evaluation method will be presented.The methods used to generate synthetically generated sounds for test subjects will also be described.
Foley and Ambience
(2026)
This lesson introduces the concepts of foley and ambience. It demonstrates how the technique of foley can be used to create sounds for video games. A brief guide on producing foley summarizes this topic. Field recording is discussed as a method for creating ambiences, covering different microphones and recording techniques.
Implementation of Noises
(2026)
In computer games, there are numerous gameplay situations where sounds (such as engine noises or spaceship sounds) change noticeably with player actions. It is not feasible to provide a separate sound for every possible operational state in a library. Typically, a "sampling-pitch-blend container" approach is used. In this lesson, this method is introduced to students using two examples.
This lesson presents the general sound design process, game elements, and the functions of sound in games. The differences between linear and nonlinear sound design are discussed and illustrated with examples. The key stages of the sound design process sourcing, designing and implementation are explained in detail. Additionally, the important concept of layering is introduced and supported by sound examples. The six game elements as well as methods for setting the mood, creating a sense of space and providing sonic feedback are presented.
Der Beitrag wurde in einem Peer-Review-Verfahren anhand des folgenden Abstracts begutachtet und als Posterbeitrag angenommen:
"Was kommen für Anforderungen an die Akustik von Unterrichtsräumen - ein Literatur Review Prof. Dr. Alexander von Hoffmann, Tom Schmid, Prof. Dr. Christine Niebler
TH-Nürnberg Georg Simon Ohm / Fakultät efi / Kompetenzzentrum OHM-UX
Es ist das Ziel der Hochschule, die hohe Qualität der Lehre aufrecht zu erhalten und, wenn möglich, zu verbessern [4].Die Evaluierungsordnung der TH-Nürnberg Georg Simon Ohm [4] sieht vor, dass jede Lehrveranstaltung mindestens einmal während eines Zeitraums von zwei Jahren zu evaluieren ist. Der Inhalt der Befragung von Studierenden im Rahmen der Evaluation von Lehrveranstaltungen soll sich an dem vom jeweiligen Fakultätsrat beschlossenen Vorschlag orientieren [4]. Die akustischen Eigenschaften der Unterrichtsräume sind dabei bisher regelmäßig nicht ausdrücklich Gegenstand der Lehr-Evaluation.In diesem Beitrag soll der Stand der Literatur zum Thema "Akustik von Unterrichtsräumen" zusammenfassend dargestellt werden. Ebenfalls soll der Frage nachgegangen werden, in welche Richtung sich die Anforderungen an die Raumakustik bei zunehmend interaktiven Lehr-Lernräumen, wie zum Beispiel Scale-Up-Räumen, oder bei hybriden Unterrichtsformaten verändern könnten?
Quellen:
[1] Klatte, M., Hellbrück, J.: Wirkungen von Hintergrundschall auf das Arbeitsgedächtnis Z. Lärmbekämpfung 40 (1993), S. 91–98
[2] Klatte, M., Sukowski, H., Meis, M., Schick, A. : Effects of irrelevant speech on speech perception and phonological short-term memory in children aged 6 to 7 years. Proceedings of the Joint Congress CFA/DAGA, Strasbourg 2004
[3] Maue, H.: Raumakustik - Akustische Gestaltung von Klassenzimmern. Sicherheitsingenieur 6/2012
[4] Evaluierungsordnung der TH-Nürnberg Georg Simon Ohm
[5] W. Schönig, „Der Raum als dritter Pädagoge“, 2024."
Nach der Begutachtung wurde im Rahmen der textlichen Ausarbeitung des Posterinhalts das Abstract ohne erneute Begutachtung angepasst.
Spatial Audio 1
(2026)
In this lesson, the concept of spatial audio is introduced. This is the first part of a two-part series focusing on the basics of surround sound, such as 5.1 and 7.1 setups. Additionally, the technique of Ambisonics is explained and illustrated with examples. These examples utilize Head-Related Transfer Functions to emulate a spatial experience on standard headphones. In the final part of the lesson, different virtual acoustics are presented, showing how sound interacts with acoustic textures in a game engine.
Managing Voices and Language Localizations, Voice Recording, Scripting. In this lesson, the process of implementing spoken language in games is presented. This includes the definition of different types and use cases. Cue sheets, which are used to guide the recording of spoken language, are discussed, followed by the process of editing the recordings. Finally, various dialogue systems for video games are introduced.
Dynamic Mixing
(2026)
Mixing audio for video games requires a different approach than traditional mixing. This dynamic mixing approach is presented in this lesson, with the overall aim of minimizing the use of computer resources. Concepts such as voice limiting, prioritization, and volume thresholds are explained. Additionally, various implementation techniques are introduced to provide an efficient mixing workflow.
In this lesson, so-called authoring systems are presented, which are used to support the implementation and design of audio for video games. In addition to typical game engines, middleware is used to act as a bridge between audio and visuals. The general workflow is explained to provide a fundamental overview that can be applied in software such as Wwise or FMOD. This includes the principles of events, game syncs, and game objects.
