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This paper presents a mobile robotic system designed to automate the baking of bread rolls in industrial kitchen environments. The system combines an omnidirectional platform, a compact sensing and computation unit, and a custom manipulator capable of grasping unsorted frozen bread rolls as well as handling baking trays. A neural-network-based perception module enables robust bread roll detection and orientation adjustment, while a tailored local planner exploits omnidirectional mobility for safe navigation in confined spaces. Experimental evaluations show reliable placement with an accuracy of about 99%. Although the robot currently requires around 90 seconds per tray compared to 20 seconds for a human worker, its ability to operate continuously allows for competitive daily throughput. Further improvements in motion planning and perception are expected to substantially reduce cycle times. Owing to its modular design, the system can be adapted to other baked goods and kitchen tasks. This work demonstrates the feasibility of robotic systems for automating repetitive food preparation processes, improving efficiency and consistency in professional kitchens.
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.
Interactive music is background music in computer games that adapts in volume, rhythm, and mood to different elements of the game. This lesson covers topics such as horizontal resequencing, working with music loops, and creating transitions and stingers. It also introduces the technical implementation of interactive music in a computer game.
Vermittelte Themen: Sounddrones sind als wummerndes Drönen und unheimlicher Hintergrundklangteppich aus vielen Kinofilmen und Computerspielen bekannt. Dem Studierenden sollen neben den Methoden der Klangsynthese auch Instrumente wie das sogenannte Waterphone oder Techniken wie das deutlich verlangsamte Abspielen von Aufnahmen natürlicher Geräusche in dieser Lerneinheit vermittelt werden.
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.
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.
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.
Spatial Audio II
(2026)
In this lesson, the concept of spatial audio is explored. This is the second part of a two-part series focusing on the basics of object based audio, such as Dolby Atmos. Additionally, the technique of Vector-Based Amplitude Panning is explained to deepen the technical understanding of object based audio. These examples use Head-Related Transfer Functions to emulate a spatial experience on standard headphones and build the fundamentals of binaural rendering.
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.
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.