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proposed. Inspired from Schelleng
'
is diagrams, the proposed control is de
ned from
a
flexible physically informed mapping between a dynamic descriptor (velocity,
pressure), and the synthesis parameters, and allows coherent transitions between the
different non-linear friction situations (Thoret et al. 2013 ). Another intuitive control
strategy dedicated to rolling sound synthesis has also been proposed (Conan et al.
2013 ). This strategy is based on a hierarchical architecture similar to that of the
impacted object sounds (cf. previous paragraph). The high-level controls that can be
manipulated by the end-user are the characteristics of the rolling ball (i.e. size,
asymmetry and speed) and the irregularity of the surface. The low-level parameters
(e.g. impacts
'
statistics, modulation frequency and modulation depth) are modi
ed
accordingly with respect
ned mapping. Recently, a control strategy
enabling to perceptually morph between the three continuous interactions, i.e.
rubbing, scratching and rolling, was designed. For that purpose, we developed a
synthesis process that is generic enough to simulate these different interactions and
based on the related invariant sound morphologies (cf. Sect. 4.3.2 ). Then, a per-
ceptual
to the de
interaction space
and the associated intuitive navigation strategy were
de
ned with given sound prototypes considered as anchors in this space (Conan
et al. 2013 ).
Finally, in line with the action / object paradigm, the complete synthesis process
has been implemented as a source-
lter model. The resulting sound is then obtained
by convolving the excitation signal (related to the nature of the interaction) with the
impulse response of the resonating object. The impulse response is implemented as
a resonant
filter bank, which central frequencies correspond to the modal fre-
quencies of the object.
Immersive auditory scenes
: An intuitive control of the sound synthesizer
dedicated to environmental auditory scenes was de
ned. The control enables the
design of complex auditory scenes and included the location and the spatial
extension of each sound source in a 3D space so as to increase the realism and the
feeling of being immersed in virtual scenes. This control is particularly relevant to
simulate sound sources such as wind or rain that are naturally diffuse and wide. In
contrast with the classical two-stage approach, which consists in
first synthesizing a
monophonic sound (timbre properties) and then spatializing the sound (spatial
position and extension in a 3D space), the architecture of the proposed synthesizer
yielded control strategies based on the overall manipulation of timbre and spatial
attributes of sound sources at the same level of sound generation (Verron et al.
2010 ).
The overall control of the environmental scene synthesizer can be effectuated
through a graphical interface where the sound sources (selected among a set of
available sources:
fire, wind, rain, wave, chimes, footsteps, etc.) can be placed
around the listener (positioned in the centre of the scene) by de
ning the distance
and the spatial width of each source. The sources are built from the elementary
grains de
fire scene is for instance built from a
combination of a whistling grain (simulating the hissing), a background aerody-
namic grain (simulating the background combustion) and noisy impact grains
(simulating the cracklings). The latter grains are generated and launched randomly
ned previously in Sect. 4.3.2 .A
 
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