Abstract is missing.
- Don't extend! reduce!: the sound approach to realityMads Walther-Hansen, Mark Grimshaw-Aagaard. 8-15 [doi]
- Surround sound spreads visual attention and increases cognitive effort in immersive media reproductionsCatarina Mendonça, Victoria Korshunova. 16-21 [doi]
- Effect of various spatial auditory cues on the perception of threat in a first-person shooter video gameKonstantin Semionov, Iain McGregor. 22-29 [doi]
- Perception of spatial data properties in an immersive multi-layered auditory environmentDisha Sardana, Woohun Joo, Ivica Ico Bukvic, Gregory Earle. 30-37 [doi]
- Directional enhancement of first-order ambisonic room impulse responses by the 2+2 directional signal estimatorLukas Gölles, Franz Zotter. 38-45 [doi]
- Data-driven feedback delay network construction for real-time virtual room acousticsJustin Shen, Ramani Duraiswami. 46-52 [doi]
- Fast synthesis of perceptually adequate room impulse responses from ultrasonic measurementsJing Yang 0022, Felix Pfreundtner, Amit Barde, Kurt Heutschi, Gábor Sörös. 53-60 [doi]
- utruchirp: an impulse response measurement and auralisation tool developed for artistic practiceLudvig Elblaus, Gerhard Eckel. 61-68 [doi]
- Acoustic modelling as a strategy for composing site-specific musicLudvig Elblaus, Gerhard Eckel. 69-76 [doi]
- Deepening presence: probing the hidden artefacts of everyday soundscapesNatasha Barrett. 77-84 [doi]
- Nature soundscapes: an audio augmented reality experienceMark Lawton, Stuart Cunningham 0004, Ian Convery. 85-92 [doi]
- A pattern system for sound processesHanns Holger Rutz. 93-100 [doi]
- Exploring polyrhythms, polymeters, and polytempi with the universal grid sequencer frameworkSamuel J. Hunt. 101-106 [doi]
- Standstill to the 'beat': differences in involuntary movement responses to simple and complex rhythmsAgata Zelechowska, Victor E. González Sánchez, Alexander Refsum Jensenius. 107-113 [doi]
- How do you sound design?: an exploratory investigation of sound design process visualizationsDaniel Hug 0002. 114-121 [doi]
- Designing interactive sonic artefacts for dance performance: an ecological approachRaul Masu, Nuno N. Correia, Stephan Jürgens, Jochen Feitsch, Teresa Romão. 122-129 [doi]
- Breaking the workflow: Design heuristics to support the development of usable digital audio production tools: framing usability heuristics for contemporary purposesSean McGrath. 130-137 [doi]
- The impact of scaling the production of a new interface for musical expression on its design: a story of L2OrkmotesKyriakos D. Tsoukalas, Joseph R. Kubalak, Ivica Ico Bukvic. 138-145 [doi]
- On making physical the control of audio plugins: the case of the retrologue hardware synthesizerLuca Turchet, Samuel Joel Willis, Gustav Andersson, Alberto Gianelli, Michele Benincaso. 146-151 [doi]
- ReVoice: a control interface for 1d transmission-line analog vowel synthesisChristie Laurent, Dan Overholt. 152-159 [doi]
- Voice-based interface for accessible soundscape composition: composing soundscapes by vocally querying online sounds repositoriesLuca Turchet, Alex Zanetti. 160-167 [doi]
- Was that me?: exploring the effects of error in gestural digital musical instrumentsDom Brown, Chris Nash, Thomas J. Mitchell. 168-174 [doi]
- Composing in spacetime with rainbows: spatial metacomposition in the real worldRobert Jarvis, Darrin Verhagen. 175-182 [doi]
- Contrasts and similarities between two audio research communities in evaluating auditory artefactsMariana Seiça, Licínio Roque, Pedro Martins 0003, F. Amílcar Cardoso. 183-190 [doi]
- Sonification of an exoplanetary atmosphereMichael Quinton, Iain McGregor, David Benyon. 191-198 [doi]
- Sonification approaches in sports in the past decade: a literature reviewVincent van Rheden, Thomas Grah, Alexander Meschtscherjakov. 199-205 [doi]
- That password doesn't sound right: interactive password strength sonificationOtto Hans-Martin Lutz, Jacob Leon Kröger, Manuel Schneiderbauer, Jan Maria Kopankiewicz, Manfred Hauswirth, Thomas Hermann. 206-213 [doi]
- Towards molecular musical instruments: interactive sonifications of 17-alanine, graphene and carbon nanotubesThomas J. Mitchell, Alex J. Jones, Michael B. O'Connor, Mark D. Wonnacott, David R. Glowacki, Joseph Hyde. 214-221 [doi]
- Sounding feetDaniel Bisig, Pablo Palacio. 222-228 [doi]
- Teaching immersive media at the "dawn of the new everything"Anil Çamci. 229-232 [doi]
- The influence of mood induction by music or a soundscape on presence and emotions in a virtual reality park scenarioAngelika C. Kern, Wolfgang Ellermeier, Lina Jost. 233-236 [doi]
- PlayShell: a low-cost, fun audio experience for heritage centresPaul Goddard, Benedict R. Gaster. 237-240 [doi]
- Expergefactor: sonic interaction design for an alarm clock appAndreas Greindl, Patrick Heidegger, Katharina Groß-Vogt, Marian Weger. 241-244 [doi]
- Inside Beethoven!: a musical installation for a new listening perspectiveAxel Berndt, Simon Waloschek, Aristotelis Hadjakos, Joachim Veit. 245-248 [doi]
- Following the journey of scores through a complex musical workAdrian Hazzard, Chris Greenhalgh, Maria Kallionpää. 249-252 [doi]
- A study on spoken language identification using deep neural networksAlexandra Draghici, Jakob Abeßer, Hanna M. Lukashevich. 253-256 [doi]
- The drinking reminder: prototype of a smart jarKatharina Groß-Vogt. 257-260 [doi]
- An auditory interface for realtime brainwave similarity in dyadsR. Michael Winters, Stephanie Koziej. 261-264 [doi]
- Quantum synth: a quantum-computing-based synthesizerOmar Costa Hamido, Giovanni Amedeo Cirillo, Edoardo Giusto. 265-268 [doi]
- From 8-bit punk to 8-bit avant-garde: designing an embedded platform to control vintage sound chipsVictor Zappi. 269-272 [doi]
- Capturing kinetic wave demonstrations for sound controlJohn Granzow, Matias Vilaplana, Anil Çamci. 273-276 [doi]
- Seeking for spectral manipulation of the sound of musical instruments using metamaterialsCarolina Espinoza Oñate, Alonso Arancibia, Gabriel Cartes, Claudio Falcón Beas. 277-280 [doi]