Proceedings of the 61st International Conference

Audio for GamesLondon, UKFebruary 10–12, 2016

000 J. Audio Eng. Soc., Vol. 59, No. 7/8, 2011 July/August

Proceedings of the AES 61st International Conference

Audio for Games 10–12 February 2016

London, UK

EditorDamian Murphy

ChairMichael Kelly

Organizing CommitteeNatanya Ford

Bill FosterScott SelfonSteve Martz

Damian KastbauerSam Hughes

Brecht De ManCarl BusseyDave Moffat

First published: 2016 FebruaryISBN: 978-1-942220-08-4

Copyright © Audio Engineering Society 2016Audio Engineering Society, Inc.551 Fifth Avenue, Suite 1225,New York, NY 10179, USAEmail: journal_office@aes.org

CHAIR’S INTRODUCTIONThe conference explores how games can get the most from their audio DSP, tools and workflow

on console, PC, and mobile platforms. As new applications arise in serious gaming and VR-based gaming, this conference explores the challenges and the solutions.

As with the previous four AES Audio for Games conferences, AES61 will bring together new and established professionals in the area. The conference aims to reflect the needs and interests of all professionals working in or around the area of game audio, further the dialog between existing

industry experts, and create a forum for sharing techniques and technology.The three-day conference program is focused around the dissemination and discussion of

technical solutions and recommended practices. As well as the paper and poster sessions, the conference will also consist of invited presentations from key practitioners and developers,

demonstrations, panel discussions, tutorials, and workshops. An important emphasis will be on VR and augmented reality in games, as well as in music, film, and non-game applications,

including coverage of middleware for games and VR. There’ll also be some hands-on sessions with sponsors, and detailed analysis of a big game due for release in the spring of 2016.

CONFERENCE COMMITTEEChair

Michael KellyPapers chair

Damian MurphyCommittee

Natanya FordBill Foster

Scott SelfonSteve Martz

Damian KastbauerSam Hughes

Brecht De ManCarl BusseyDave Moffat

Chair: Michael Kelly

PAPERS SESSION 1: SPATIAL AUDIO RENDERING

1-1 Preliminary Investigations into Binaural Cue Enhancementfor Height Perception in Transaural Systems—Thomas McKenzie and Gavin Kearney, Audio Lab, University of York, UK

1-2 An Algorithmic Approach to the Manipulation of B-FormatImpulse Responses for Sound Source Rotation—Michael Lovedee-Turner, Jude Brereton, and Damian Murphy, Audio Lab, University of York, UK

PAPER SESSION 2: AUDIO CONTENT AND SERIOUS GAMES

2-1 Audio Commons: Bringing Creative Commons AudioContent To The Creative Industries—Frederic Font1, Tim Brookes2, George Fazekas3, Martin Guerber4, Amaury La Burthe5, David Plans6, Mark D. Plumbley7, Meir Shaashua8, Wenwu Wang7, and Xavier Serra1

1Music Technology Group, Universitat Pompeu Fabra, Spain 2Institute of Sound Recording, University of Surrey, UK 3Centre for Digital Music, Queen Mary University of London, UK 4Jamendo SA, Luxembourg 5AudioGaming, France 6Business School, University of Surrey, UK 7Centre for Vision, Speech and Signal Processing, University of Surrey, UK 8Waves Audio Ltd, Israel

2-2 Safe And Sound Drive: Sound Based Gamification Of UserInterfaces In Cars—Arne Nyknen1, Andr Lundkvist2, Stefan Lindberg3, And Mariana Lopez1 1Cultures of the Digital Economy Research Institute, Anglia Ruskin University, Cambridge, UK 2Engineering Acoustics, Luleå University of Technology, Luleå, Sweden 3The Interactive Institute, Piteå, Sweden

PAPER SESSION 3: BINAURAL SOUND FOR VR

3-1 Lateral Listener Movement On The Horizontal Plane:Sensing Motion Through Binaural Simulation—Matthew Boerum, Bryan Martin, Richard King, George Massenburg, Dave Benson, and Will Howie, Graduate Program in Sound Recording, McGill University, and Centre for Interdisciplinary Research in Music Media and Technology (CIRMMT), Montreal, Canada

3-2 Ear Shape Modeling for 3D Audio and Acoustic VirtualReality: The Shape-Based Average HRTF—Shoken Kaneko, Tsukasa Suenaga, Mai Fujiwara, Kazuya Kumehara, Futoshi Shirakihara, and Satoshi Sekine, Research and Development Division, Yamaha Corporation, Iwata, Japan

PAPER SESSION 4: SYNTHESIS AND SOUND DESIGN

4-1 Modal Synthesis Of Weapon Sounds—Lucas Mengual,David Moffat, And Joshua D. Reiss, Center for Digital Music, Queen Mary University of London, UK

4-2 Feature Based Impact Sound Synthesis Of RigidBodies Using Linear Modal Analysis For Virtual Reality Applications—Muhammad Imran And Jin Yong Jeon, Department of Architectural Engineering, Hanyang University, Seoul, Korea

4-3 A Synthesis Model For Mammalian Vocalisation SoundEffects—William Wilkinson, Joshua D. Reiss, Centre for Digital Music, Queen Mary University of London, UK

Table of Contents