- List of Common Acronyms Found in the <i>Handbook</i>
- List of Software Found in the <i>Handbook</i>
- List of Games Found in the <i>Handbook</i>
- List of Contributors
- About the Companion Website
- Spatial Reconfiguration in Interactive Video Art
- Navigating Sound: Locative and Translocational Approaches to Interactive Audio
- Defining Sound Toys: Play as Composition
- Thinking More Dynamically about Using Sound to Enhance Learning from Instructional Technologies
- Acoustic Scenography and Interactive Audio: Sound Design for Built Environments
- The Unanswered Question of Musical Meaning: A Cross-domain Approach
- How Can Interactive Music be Used in Virtual Worlds Like <i>World of Warcraft</i>?
- Sound and the Videoludic Experience
- Designing a Game for Music: Integrated Design Approaches for Ludic Music and Interactivity
- Worlds of Music: Strategies for Creating Music-based Experiences in Videogames
- Embodied Virtual Acoustic Ecologies of Computer Games
- A Cognitive Approach to the Emotional Function of Game Sound
- The Sound of Being There: Presence and Interactive Audio in Immersive Virtual Reality
- Sonic Interactions in Multimodal Environments: An Overview
- Musical Interaction for Health Improvement
- Engagement, Immersion and Presence: The Role of Audio Interactivity in Location-aware Sound Design
- Multisensory Musicality in <i>Dance Central</i>
- Interactivity and Liveness in Electroacoustic Concert Music
- Skill in Interactive Digital Music Systems
- Gesture in the Design of Interactive Sound Models
- Virtual Musicians and Machine Learning
- Musical Behavior and Amergence in Technoetic and Media Arts
- Flow of Creative Interaction with Digital Music Notations
- Blurring Boundaries: Trends and Implications in Audio Production Software Developments
- Delivering Interactive Experiences through the Emotional Adaptation of Automatically Composed Music
- A Review of Interactive Sound in Computer Games: Can Sound Affect the Motoric Behavior of a Player?
- Interactive Spectral Processing of Musical Audio
- Let’s Mix it Up: Interviews Exploring the Practical and Technical Challenges of Interactive Mixing in Games
- Our Interactive Audio Future
- For the Love of Chiptune
- Procedural Audio Theory and Practice
- Live Electronic Preparation: Interactive Timbral Practice
- New Tools for Interactive Audio, and What Good they Do
Abstract and Keywords
In this chapter different beneficial scenarios for using procedurally generated audio are discussed. Further, the topic of perceived realism in computer games is elaborated in the context of procedural sound models. Among other things the chapter discusses how different narrative elements could be applied to the procedural sound models in order to improve the models for their use in computer games. Finally, the chapter describes a pilot test performed on a sword game controlled by a Nintendo Wii motion controller. The test is whether procedural audio on self-produced sounds could affect the motoric behavior of the players. It is described how a procedural model of a swoosh sword sound is implemented in Max/MSP, using among other things granular synthesis and subtractive synthesis.
Niels Böttcher graduated from Aalborg University in Copenhagen, at the Institute of Architecture, Design and Media Technology. His PhD was on the topic of procedural audio in computer games with a special focus on motion controllers. Niels has an on-going interest in the relationship between gesture and sound in musical controllers, computer games and related applications. He has been very active in building DIY music instruments and have been performing all over Europe in varies electronic music groups. In 2002 he founded the record label JenkaMusic, which has more than 16 international releases.
Stefania Serafin is Professor with special responsabilities in sound for multimodal environments in the Medialogy section at Aalborg University in Copenhagen. I teach and research on sound models and sound design for interactive media and multimodal interfaces.
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