Tuyển tập báo cáo các nghiên cứu khoa học quốc tế ngành hóa học dành cho các bạn yêu hóa học tham khảo đề tài: Research Article Real-Time Perceptual Simulation of Moving Sources: Application to the Leslie Cabinet and 3D Sound Immersion | Hindawi Publishing Corporation EURASIP Journal on Audio Speech and Music Processing Volume 2008 Article ID 849696 10 pages doi 2008 849696 Research Article Real-Time Perceptual Simulation of Moving Sources Application to the Leslie Cabinet and 3D Sound Immersion R. Kronland-Martinet and T. Voinier Laboratoire de Mecanique et d Acoustique CNRS 31 Chemin Joseph Aiguier 13402 Marseille Cedex 20 France Correspondence should be addressed to R. Kronland-Martinet kronland@ Received 31 October 2007 Accepted 29 May 2008 Recommended by Sen M. Kuo Perception of moving sound sources obeys different brain processes from those mediating the localization of static sound events. In view of these specificities a preprocessing model was designed based on the main perceptual cues involved in the auditory perception of moving sound sources such as the intensity timbre reverberation and frequency shift processes. This model is the first step toward a more general moving sound source system including a system of spatialization. Two applications of this model are presented the simulation of a system involving rotating sources the Leslie Cabinet and a 3D sound immersion installation based on the sonification of cosmic particles the Cosmophone. Copyright 2008 R. Kronland-Martinet and T. Voinier. This is an open access article distributed under the Creative Commons Attribution License which permits unrestricted use distribution and reproduction in any medium provided the original work is properly cited. 1. INTRODUCTION The simulation of moving sources is of great importance in many audio sound applications including musical applications where moving sources can be used to generate special effects inducing novel auditory experiences. Motion of instruments while they are being played can also subtly affect the sound and hence the expressiveness of the performance. Wanderley et al. 1 have described for example that the motion of the clarinet follows specific trajectories
