Federico Avanzini

Efficient computation of nonlinear filter networks with delay-free loops and applications to physically-based sound models

The paper presents a general procedure for the computation of filter networks made of linear filters and nonlinear non-algebraic (dynamic) elements. The method is developed in the Kirchhoff domain and applies to cases where the network contains an arbitrary number of delay-free paths that involve nonlinear elements. Compared to existing techniques the method does not require a rearrangement of the network structure, instead it subdivides the network into computational substructures specified by appropriate matrices related to the network topology. Sufficient conditions are discussed for the applicability of the method, and results are provided that relate performance of the method to the properties of the nonlinear elements and to the network topology. The last part of the paper discusses applications of the method to the simulation of acoustic systems, including multidimensional wave propagation by means of waveguide-mesh techniques.

Do We Need Individual Head-Related Transfer Functions for Vertical Localization? The Case Study of a Spectral Notch Distance Metric

This paper deals with the issue of individualizing the head-related transfer function (HRTF) rendering process for auditory elevation perception. Is it possible to find a nonindividual, personalized HRTF set that allows a listener to have an equally accurate localization performance than with his/her individual HRTFs? We propose a psychoacoustically motivated, anthropometry based mismatch function between HRTF pairs that exploits the close relation between the listeners pinna geometry and localization cues. This is evaluated using an auditory model that computes a mapping between HRTF spectra and perceived spatial locations. Results on a large number of subjects in the center for image processing and integrated computing (CIPIC) and acoustics research institute (ARI) HRTF databases suggest that there exists a nonindividual HRTF set, which allows a listener to have an equally accurate vertical localization than with individual HRTFs. Furthermore, we find the optimal parameterization of the proposed mismatch function, i.e., the one that best reflects the information given by the auditory model. Our findings show that the selection procedure yields statistically significant improvements with respect to dummy-head HRTFs or random HRTF selection, with potentially high impact from an applicative point of view.

Implementation and Characterization of Vibrotactile Interfaces

While a standard approach is more or less established for rendering basic vibratory cues in consumer electronics, the implementation of advanced vibrotactile feedback still requires designers and engineers to solve a number of technical issues. Several off-the-shelf vibration actuators are currently available, having different characteristics and limitations that should be considered in the design process. We suggest an iterative approach to design in which vibrotactile interfaces are validated by testing their accuracy in rendering vibratory cues and in measuring input gestures. Several examples of prototype interfaces yielding audio-haptic feedback are described, ranging from open-ended devices to musical interfaces, addressing their design and the characterization of their vibratory output.

Perception of Vibrotactile Cues in Musical Performance

We suggest that studies on active touch psychophysics are needed to inform the design of haptic musical interfaces and better understand the relevance of haptic cues in musical performance. Following a review of the previous literature on vibrotactile perception in musical performance, two recent experiments are reported. The first experiment investigated how active finger-pressing forces affect vibration perception, finding significant effects of vibration type and force level on perceptual thresholds. Moreover, the measured thresholds were considerably lower than those reported in the literature, possibly due to the concurrent effect of large (unconstrained) finger contact areas, active pressing forces, and long-duration stimuli. The second experiment assessed the validity of these findings in a real musical context by studying the detection of vibrotactile cues at the keyboard of a grand and an upright piano. Sensitivity to key vibrations in fact not only was highest at the lower octaves and gradually decreased toward higher pitches; it was also significant for stimuli having spectral peaks of acceleration similar to those of the first experiment, i.e., below the standard sensitivity thresholds measured for sinusoidal vibrations under passive touch conditions.